Music is somewhat out of scope for Lost in Translation. The analysis of songs and their arrangement is a different beast from what is done with film and television here. However, music covers are a microcosm of what has been looked at here in the past in terms of types of adaptations.
Straight-up covers are more common than shot-for-shot remakes. The only time a shot-for-shot remake comes up is when there’s a huge change in film technology, like going from silent to sound or from black-and-white to colour. With the availability of older movies through a number of different formats, such as DVD or streaming, it’s easier to just watch the original today than it was even forty years ago. With music, sometimes the attraction is the hearing the song as originally recorded, but live. Tribute bands and cover bands, from Beatles tribute band 1964 the Tribute to Rush cover band Trip the Breaker, are usually fans of the original work and want to present the music as they first heard it. In cases like the Beatles, the original band is no longer performing, so the tribute band is the only way to recreate the sound and the performance.
Tribute and cover bands aren’t the only way to get straight adaptations of songs. Bands that otherwise perform original music will sometimes do a cover of a song, because they are fans of the original performer or performers or because the song is technically challenging. There may be some crossover of the fans of both the original band and the newer one, but the goal is to add to the repertoire. Weezer is a good example here, having done a cover of Aha’s “Take On Me“, including nods to the original music video. The reaction to covers is different from reaction to adaptations. One covered song or even an album of song covers is just a drop of water in a lake. The original band’s works are still available and the new band can take the attention it garners from a cover to get people to listen to their original works.
Not all covers are remakes. Some cross musical genres, from one form of rock to another, from country to rock, even from classical to rock. This sort of cover is similar to adaptations from one medium to another. The new artists may enjoy the original work and want to see how it sounds in their own genre. Another possible reason is that the song has meaning for the new artist, who now wants to perform it because it is personal. A good example of this is Johnny Cash’s version of Nine Inch Nails’ “Hurt“, which even songwriter Trent Reznor has said that the song is Cash’s now, becoming an example of an adaptation that improves on the original.
Changing music genres means changing how the song is played. Rock is typically danceable and has a backbeat. Country doesn’t have the backbeat and may have more of a twang on the guitars. Classical music can have a deeper sound, using more instruments in an orchestra, or it may be written for a single instrument such as piano or organ. Crossing the streams means figuring out what the core of a song is and adapting it to the new genre, trying to keep the song intact while changing out elements. Staying in one broad genre, such as rock, while changing subgenres, say from New Wave to metal, means having an ear to notice both the similarities and the differences. An example of adapting between subgenres is Nonpoint’s metal version of Phil Collins’ soft rock song, “In the Air Tonight“.
Going across different genres means adapting the new genres techniques to the song. When the genres are related, like how jazz and the blues are to rock, the difference comes out in the sound; the instruments are similar, but the performance changes. Henry Mancini’s “Theme from Peter Gunn” was originally a jazz piece, but has been adapted by Duane Eddy as rockabilly with twang and Art of Noise as synth-pop. The song remains essentially the same, but each version has its own unique sound. Even classical music can be covered like this; the goal is the same, but the instruments change, sometimes drastically. A good example here is Sky’s rock version of Johann Christian Bach’s “Toccata and Fugue in D minor“, originally written for an organ. Instead of just using a keyboard, the arrangement uses the typical rock instruments to recreate the song.
If adapting across genres is like adapting a TV series to movies, then using non-traditional instruments in a cover is like adapting a book to a film. This isn’t just using guitars in what was a classical piece. Think dubstep violin or heavy metal bagpipes, instruments known for specific works being used in a new way. The results can be mixed, much like book to film adaptations, but when done well, becomes a new way to listen to a work.
Finally, parodies exist, possibly more so in music than in film and television. A parody takes the same amount of time to create as the original it’s spoofing. A four minute song takes less time to create than a two hour film at a far lower cost. As a result, musical parodies can be done by professionals, semi-pros, and amateurs. The leading parodist today is “Weird Al” Yankovic, who not only parodies songs but styles, having written the best song from The Doors in the past two decades with “Craigslist“. The parodies don’t have to be about the original song. Different takes can include parodies from another medium, from film to politics.
Music covers deserve a much deeper examination than the above. They have their own nuances and catches that film adaptations don’t have. Covers are also more accepted; there aren’t complaints that there isn’t original music like there are about the lack of original movies. Part of this is that there is room for both original songs and covers; songs don’t take much time to listen to, allowing audiences to hear a wider variety. The performers are the draw here. However, music covers can be used as quick examples. They take less time to demonstrate concepts of adapting works.
Quick one here.
Canadian rock groups from the 90s are getting a second look. Digital distribution is making it easier for the bands to get their work out to the fans. One, Big Wreck, had their first number one single, “Albatross”, fifteen years after their debut album. One of the advantages of digital distribution is avoiding the needs of studios and radio stations.
Main takeaway here is the reduced influence of music companies in the relationship between band and fan. Radio is becoming less influential, as well. These bands making comebacks aren’t getting the radio play they used to in the 90s, but are still touring. New bands might want to take a look at how these Canadian groups are getting themselves known.