Interesting choice of a cover.
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Pretty cool. It’s great that he keeps the soloing to the solo part and does a neat muted thing in and out but stays restrained otherwise. Other than overhand theatrics.
If Yngwie had done this song he’d a likely had scales going up and down all over those vocals - God bless him.
The singer sounds decent.
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Yes, this was very nicely done, and MAB definitely shows some restraint and adjusts his sound to serve the song, although he always reserves portions that are stereotypical MAB. (I also liked Nitro’s cover of Cat Scratch Fever.)
Actually, another cover of this great song with Martin Miller:
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MAB (and Martin) both overlook/ignore that Jerry doesn’t play an E (Eb really) power chord for those hits on 1 (2) & (3) & throughout. It’s E and D, and part of what makes that sound cool and interesting to me.
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hahaha That was dang awesome! Mike did such a great job on maintaining his style, but not ruining the integrity of the song. Great cover, I love it - more please!
Is it me or is Mike bloody scary fast and clean? lol
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I also noticed that the chord in the original had more “cool dissonance / crunchyness”, so that the original still feels like the “heaviest” version to me.
An amazing job nevertheless from the MSB band 
The covers he does with that group musicians are amazing.
That minor 7th interval definitely adds some badass factor to the whole thing, for sure! But yes, awesome work from MAB and friends.
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Cantrell and Staley’s vocal harmonies are the backbone of AIC. That slightly dissonant at times or close at times haunting aspect. Something that is neigh impossible to achieve in the age of autotune and pitch correction. Its something that is the antithesis to the perfection of someone like Simon & Garfunkle or CSN(Y) (Listen to “Carry On” from Deja Vu for an example of “perfect” harmonies.)
Edit: I’ll break it down further. AIC loves to harmonize the vocals in parallel 4ths or 5th as opposed to the usual M3/m3 vocal harmonies and they do progressions that basically violate most of the rules of common vocal harmony writing heard in most pop music.
Musically it’s like a 4 part choir was missing the alto and was just soprano and tenor or soprano and bass. In western music the thirds give us our sense of key major or minor so those being absent in the vocal harmony makes the vocals by themselves have a very ambiguous tonal feel often times, “Angry Chair” is a great example. It gives the vocals the same kind of vibe that pre 4 part church chant has.
I remember reading that Jerry was very inspired by the Gregorian chant he sang in chorus in high school which of course would be when everything was more modal where due to the nature of moving up and down a scale lots of dissonant passing tones are produced between the melody line and the drone/ison line. (organs and their predecessor the hurdy gurdy were developed to play this drone line for the signing above it).
Another good analysis of AIC.
Here’s some early chant that will illustrate it
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The other thing is that the original seems to have a MXR® TALK BOX - Dunlop, but the covers don’t.
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