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Posts Tagged ‘Guitar Hero’

In case you missed it, this month’s issue of Forbes features none other than Activision CEO Bobby Kotick on the cover.  It’s a weird, weird feeling to see a guy like Kotick on the cover of such a popular mainstream business mag.  On the one hand, it’s a validation of how important the industry is to the entire entertainment landscape.  Especially in these times, when you see how healthy it is.

Friend or foe?  Depends who you ask.

On the other hand, it’s Bobby Kotick.  You’d really hope that one of this industry’s brightest stars, like a Miyamoto or Wright, would answer the call for a mainstream, upper crust book like Forbes. It’d even be great to see an up-and-coming developer like Jonathon Blow or the guys from 2D Boy.  But  Kotick’s the opposite of those veteran auters and bright-eyed talent.

Kotick freely admits that he doesn’t play games, and is very public about not wanting to do so.  He demands annual sequels of every one of Activision’s franchises, and as the CEO of the #1 publisher right now, really doesn’t seem too interested in moving the industry forward.  He’s an eye-on-the-bottom-line, coffee-is-for-closers guy in an industry that lives and dies by its creative output.  And that’s why the Forbes crowd loves him.

The fact is, this big Forbes spread is written for them.  Not us.  And it’s only natural for it to rub a guy like me the wrong way, especially with lines like: “EA also teamed with MTV to sell Rock Band, a shameless knockoff of Guitar Hero that added drums, bass and a microphone to the world of make-believe rock stars. EA says it is returning to an “auteur model” of designing games, taking bigger chances on fewer ideas.” A shameless knockoff?!  Really?  So what does that make Guitar Hero World Tour? For his part, author Peter Beller came back with a semi-backpedal a week later.

Around the same time the Forbes piece hit, Ars Technica published *their* Bobby Kotick profile.  A decidedly gamer-centric pub (especially copared to Forbes), even I think the their piece might’ve gone a little too far into smear territory, having never met the guy.

If nothing else, it’s really intersting to see two well-respected, well-read outlets put out such opposite profiles about the same man, when the company he oversees is top dog.

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Fellow marketer and WordPresser Doug Meacham tied together some stirring evidence to back up a thought I’ve been chewing on for quite a while: popularity of music games will lead to greater interested in playing actual musical instruments.  It makes perfect sense.  While there were a few sky-is-falling critics of the genre early on, Guitar Hero and Rock Band allow a whole new audience to interact with music in a very real way.

Beyond trading up for real instruments, the Guitar Hero audience has shown plenty of love to previously obscure bands from the game during a dark time for record sales.  And I’m willing to bet there are quite a few GH fans that “discovered” older bands (that totally play, like, their dad’s music) through the game, and really learned to appreciate them.

Rock music games give us a nice, tidy package to study the direct correlation between games and non-game merchandise sales.  The genre was created well after gaming moved from a niche hobby to mainstream entertainment, it consists of only 2 flagship series, and interest can be tracked through solid sales numbers on (mostly) tangible products that are tied to only this one genre: guitars, and records and downloads of  music from featured bands.  There’s no spillover data from other genres here, because no one rushes out to pick up a new guitar ’cause they had an awesome time playing Left 4 Dead.

It would be interesting to see what other games had similar effects, if only it were trackable.  I’m sure there are plenty of guys out there who learned the rules of football (and eventually an interest in the sport) from Madden.

Licensed NFL merchandise continues to move at a steady clip despite the young male audience move away from watching TV, but it’s a real leap to call an uptick in sales of footballs, helmets and jerseys “the Madden effect.”

So when I see a team like the Yankees loading up their luxury boxes with PS3s and copies of MLB 09: The Show, it’s clearly a deal designed to

benefit Sony.  But I think MLB might be pleasantly surprised with how much interest a wider reaching games initiative could generate in the sport.  At the very least, it would bring some of the cool factor they despereately need to make the very worthy RBI program a success.

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Welcome to Part 3 of my first attempt at continuity.  Be sure and check out Parts 1 and 2 before you move on to the finale…

1999Ready 2 Rumble – I graduated high school in 1999, so this was a huge transition year for me.  I left my parents’ quiet house in the suburbs for the sprawling, gorgeous Michigan State campus in East Lansing.  I met literally thousands of new people, and got a fresh start on the rest of my life.

Sega had spent my high school years pissing away all the good mojo they had garnered in the Genesis days by releasing unnecessary hardware like the Sega CD, 32X, and the Saturn in rapid succession.  They had also cast off surly dick Bernie Stolar, and were ready for a fresh start themselves.  So when the Dreamcast launched on September 9, 1999 (“where were you?”) it was like we just instantly understood each other.  Kind of like that part where two characters stay up all night talking in… some Cameron Crowe movie, I think.

The Dreamcast had its quirks: weird controllers, a proprietary disc format, and a hefty Windows CE operating system under the hood.  It was ahead of its time.  To be fair, I was struggling through Japanese 101 and slowly learning that I was pursuing the wrong degree.  So no one’s perfect.

The eventual nail in the Dreamcast’s coffin was the absence of EA Sports games.  But it still managed to sneak in a few really, really solid sports games like launch title Ready 2 Rumble.

About halfway through freshmen year, this game transformed my dorm room into an extended hours arcade.  Its hilarious cast was a throwback to Punch Out!!, and quick pick-up-and-play controls made it a natural weapon of choice for our assembly of amateur drunks college freshmen from all over the Midwest.

2000Chu Chu Rocket – Another Dreamcast gem, Chu Chu Rocket was the first game to take advantage of the system’s built in modem.  For the uninitiated, it’s hard to believe just how addictive a puzzle game about getting lots and lots of mice into a rocket ship can be.  And I understand that.  But once you got the hang of this game, its dark sense of humor and frenetic pace combine for an itch that you just can’t help but scratch.  The online play was laggy, but totally worth it.  After all, there’s nothing more satisfying than sending a cat into your opponent’s rocket at the last second before launch.

2001Ico – There are two types of gamers in this world: those that have never played Ico, and those that LOVE it.  But you shouldn’t be ashamed to be in the former group.  After all, this masterpiece really struggled to find its audience in the US, was woefully short printed, and (just to complete the trifecta of nerd Spanish Fly), was eclipsed by the much higher profile Grand Theft Auto 3 at release.

I didn’t track down a copy until years later, towards the end of my PlayStation 2 days.  I was hooked immediately.  This was clearly a game that took itself very seriously, and that was ok.  The team behind Ico created a work of art, and they wanted us to think about, explore, and feel the game just like any legitimate artist in any other medium.

They dispatched with some very essential game-y trappings: all the characters speak in a made up language, and there’s no onscreen HUD or gauges of any kind.  The story was gripping, and even heartbreaking at times.  We would only refer to this game as ‘the hauntingly beautiful Ico‘ (never just ‘Ico’) around my bachelor apartment Queens.  Play it for a few minutes and you’ll see why.

2002 – SOCOM: U.S. Navy Seals – The first game to take advantage of the PlayStation 2’s add-on broadband adapter, SOCOM promised to deliver to consoles the same fast paced, multiplayer squad-based combat that PC gamers had been enjoying for years.  It even came with a nifty USB headset so you could bark orders (or dirty jokes, depending on your squad) in the heat of battle.

My college roommates and I never really got that deep into the online component, though.  The headset worked in single player too, so you could order around the dumb-as-posts AI squad mates, Boomer, Jester and Specter.  This is way more entertaining than it sounds.

2003 – Evil Dead: a Fistfull of Boomstick – This wasn’t the best game of 2003 by a longshot.  ’03 was a banner year for the industry with Call of Duty, Mario Kart Double Dash, and Prince of Persia: the Sands of Time all hitting shelves.  Boomstick was flawed by comparison, but I had spent much of my senior year of college interning with a small ad/sound production studio, and had the great pleasure of working with Ash himself, Bruce Campbell.

It was the first time someone that I had actually met was the star of a video game, and that really made me appreciate the fact that this game tried so hard to capture the feeling of the Evil Dead movies.  It may not have succeeded 100% of the time as a game, but it’s still one of the best games out there based on a movie property.  It doesn’t hurt that I happen to LOVE this particular trilogy, too.

I bought Boomstick about a month before I moved from Michigan to New York, so it was the last game that I played in the basement of my parents’ house, passing around the controller with my friends.  For that reason alone, I’ll always have a soft spot for this game.

2004 – NFL Street – When I think of my first apartment in New York, 3 things immediately come to mind: hideous linoleum, Oh My God’s Interrogations and Confessions record, and long sessions of NFL Street. I barely knew my roommate, Geoff,  when we first moved in to that bachelor pad in Astoria, but we became fast friends by happy accident, hanging out way too late in dive bars, commiserating over our entry-level peon jobs, and spending entire Sundays shaking off hangovers and passing the controller back and forth.

Neither of us made very much money, so after the cable bill and Coors Light expenses, we couldn’t buy a ton of new games.  Around the same time as I picked up NFL Street, we saw indie rock superband Oh My God at a bar in the Village, and their latest record went on infinite loop in the apartment stereo.  For the next few months we played that game and record to death simultaneously.   Whenever I hear a song from that record, to this day, I just see visuals from NFL Street in my head.

EA had 3 iterations of the NBA Street series to hone the pro-sport-meets-the-sandlot formula, and they absolutely nailed it with this game.  The character creation system was robust, with endless possibilities for player looks, clothes, and attributes.  I’ve found recent entries in the Madden series to be a little intimidating, with enormous playbooks and all those audible options on both sides of the ball.  The EA Sports BIG team stripped away all the nonessential bullshit for Street, leaving us with the most fun, eminently playable football game since Mutant League Football.

Like any case of a Midwesterner moving out to The Big City, there were definitely some bumps along the way that first year.  Our landlord was a dick.  The place was drafty.  I spent two months unemployed.  But when I think back on all the good times we had, watching hilarious movies, exploring the city and playing some great games, I wouldn’t trade it for the world.

We eventually moved into classier digs, started listening to other CD’s, and Geoff was the Best Man at my wedding.  It’s too bad the NFL Street series didn’t have the same luck, as both sequels ended up unplayable.

2005 – Guitar Hero – It may be hard to believe, but the father of gaming’s new favorite genre started from very humble beginnings.  The original Guitar Hero was a PlayStation 2 exclusive, during that system’s twilight years.  Required, packed-in peripherals were a huge no-no, and a $75 price point seemed sky-high for any piece of software.  Barely anyone had heard of developer Harmonix, and retailers hated the idea of devoting so much floorspace to such an X factor of a game during the holiday rush.  Looking back on it, it’s sort of amazing that the game succeeded at all.

I was representing GamePro magazine during Guitar Hero’s launch cycle, and went on a holiday press tour with editor Sid Shuman.  He raved about GH in every single interview, and by the end of the tour I just HAD to pick it up.  I grabbed a copy in release day, from a huge stack at my local Gamestop.  It didn’t seem like they were going to move fast.

Shortly after the game came out, we had a perfect gaming storm in New York.  It was the coldest winter in years, and the Metropolitan Transit Authority entered into a lengthy work stoppage.  Living in Queens, I wasn’t required to go into my office in Manhattan.

The more I played GH, the more I felt like I had to share it with EVERYONE I knew.  I took my PS2 everywhere for the next few months, and I wasn’t alone.  GH got a huge bump through word of mouth, and it was a bona fide hit by Christmas.

The music genre’s obviously grown by leaps and bounds since then, and online multiplayer, downloadable content and now full-on authoring modes have opened up music games to a much larger audience.  I’m willing to bet there are quite a few Xbox 360 and PS3 owners out there that wouldn’t have bothered with a system if not for Guitar Hero and Rock Band. It was nice to be one of the first evangalists.

2006 – Bully2006 was the Wii’s big coming out party, and I was just as swept up in it as every other gamer (and kid, soccer mom, and granparent, apparantly).  But when I look back at all the releases from ’06, this one jumps out at me.

By the time Bully came out, the Grand Theft Auto series was a well-oiled machine.  Vice City and San Andreas expanded the GTA universe beyond Liberty City and established the GTA3 engine as a legitmate multigame cash cow.

That engine didn’t really sing until Bully, if you ask me.  Bully’s characters felt new and fresh compared to the endless stream of GTA gangsters, and everyone could relate to its high school setting.  The entire game existed well outside of GTA’s recipe for success, which was remarkably ambitious of Rockstar.

I happened to be at Rockstar’s NY headquarters on launch day for an interview.  It didn’t work out, but at least I got a newly minted copy of Bully as a parting gift.  It was my first real, legitimate brush with a job in video games.  Thank God it wasn’t my last.

2007 – Super Mario GalaxyThe Wii launched with an outstanding new Zelda title and the groundbreaking Wii Sports in 2006, but its otherwise scant launch lineup left hardcore Nintendo fans (like yours truly) scratching our heads and wondering, “where’s Mario?”  The old, reliable super-plumber had been driving karts, playing golf, basketball, baseball, and even board games – but the last true Mario adventure for a home console was the maligned Gamecube platformer, Super Mario Sunshine*.

Galaxy launched to unbelievable expectations.  It had to prove the Wii’s unorthodox “remote + nunchuck” control scheme could really work for a non-sports game.  It needed to make a platformer relevant again, in a sea of flashy squad-based shooters on more powerful consoles.  And it needed to stand up to the nostalgia and fun of ALL of Mario’s previous adventures, because they were all playable on the Wii’s virtual console by the time Galaxy came out.

My wife (then my fiance) got me Galaxy for my first real Hanukkah, and I can honestly say it lived up to all my expectations.  With the exception of a few contrarian critics (who got a lot of traffic for their negative reviews… just sayin’), it was a rousing success.  Most importantly, it captured that Mario game feeling.

Galaxy looked better than anything we had seen on the Wii thus far, and it married the separate two-handed control scheme to classic platforming.  I couldn’t stand to leave my copy for long, so I brought it back to my Michigan to visit my folks over Christmas – and the Wii to play it on.

* NOTE: It’s recently become cool on forums and blog comment sections to claim that you’ve always LOVED Super Mario Sunshine, and declare that it’s a misunderstood misunderstood work of staggering genius.  It was a good game.  Just not a fantastic game.

2008 – ? – It’s too early to say just yet.  There are tons of worthy candidates going into the fourth quarter, and lots of potentially great games on the horizon.  So far:

LittleBigPlanet may be the first game since Super Paper Mario to really capture my wife’s attention.  The Sackboy character might just be cute enough to draw a wider audience to the PlayStation 3, and the Tinkertoy aesthetic is tough for anybody to resist.  I think it might really grasp the limited-only-by-your imagination paradigm shift that Spore was so close to finally realizing.

Metal Gear Solid 4 lived up to my really high expectations. There was a moment there where I had withered, old Snake crouched for a bit too long, and he groaned and grabbed his back in agony.  I had to laugh because I was playing with my headphones on, to keep the ambient gunfire from waking my wife on a weekend morning.  A far cry from the plucky 17-year-old that brought back the original MGS demo back from study abroad in Japan.  Are we really that old, Snake?

Super Smash Bros Brawl is the only game that I felt was worth going to a midnight launch for this year.  I’ve always loved the series, and the promise of online multiplayer, a level designer, and all those characters combined for some kind of record in terms of gameplay value per dollar.  I can’t imagine having a game like this available as a 12-year-old with limited means for game purchases.  It’s so deep that it’s essentially its own platform.

I couldn’t sleep at all the night before our big wedding weekend.  I woke up around 4 am and ended up in the living room.  I popped in Brawl, and for a little while before all the craziness and life changing of the weekend ahead, it was just me and Mario.  One more time.

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As another stellar PAX show wound down this weekend, Sony completed a more-or-less clean sweep of industry show prerelease buzz for LittleBigPlanet. The construction/platformer/multiplayer collaboration defies all current genre (yours truly is calling it a “toybox” game) and is quick to make fans wherever it pops up. It dominated E3 “Game of Show” lists, was named Leipzig’s Game of the Show, and popped in quite a few places at PAX, including the offbeat “How to Get Your Girlfriend into Video Games” panel.

Perhaps the most compelling argument for LBP is just how much stock Sony is putting in the game’s all-things-to-all-people mascot, Sackboy.  He’s truly a modern icon for the consumer generated content era: a blank (albeit cute and cuddly) slate to take on whichever identity makes the most sense for your game.  Whereas Mario (nee Jumpman) injected a little character into stacks of pixels nearly 30 years ago, Sackboy and his crew can be infused with all the personality you need.  Sony’s even releasing an 80G hardware bundle featuring LBP in Europe.

Perhaps most importantly, LBP is the latest in a line of unbelievably good titles that aim to occupy the space somewhere between a game and full-blown platform.  Rock Band and later editions of Guitar Hero continue to deliver weekly content to suit a wide variet of tastes, from The Who to Nirvana song packs.  Nintendo packed a robust level editor into the already-superb Super Smash Brothers Brawl, and the community still pumps out engaging level designs almost 6 months after its release.  Soul Calibur IV is currently flying off the shelves, due in large part to one of the deepest create-a-character modes ever seen in a console brawler.

While it’s true that these games rely heavily on the efforts of an engaged community, they also require a substantial commitment from developers.  LBP developer Media Molecule has made it clear that they have no followup project in mind yet.  For the months, maybe even years after it ships, they will be in the business of supporting and expanding LBP. And I applaud the effort.

Can LittleBigPlanet deliver on expectations?  Will it truly make us all one step closer to self publishers?  Will it finally deliver a sustainable experience supported by smart, effective in-game advertising?  Only time will tell, and I can hardly wait until October to find out.

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The annual Games Convention is going on this week in Leipzig, Germany.  When it was first introduced in 2002, the GC was an oddity at best.  It falls on the calendar barely a month after E3 and before the Tokyo Game Show, is open to the public, and is a mostly console show seated in the heart of a decidedly PC-centric gaming scene.  So it was a surprise to see any big news come out of the show.

Six years and a confusing E3 metamorphasis later, Leipzig still isn’t a white-hot show by any stretch of the imagination.  Nintendo’s not attending this year, and Microsoft won’t be holding a press conference.  However, a few nuggets were saved from min-E3 and are making a big splash at the show this week.

Capcom will finally be showing the console version of Street Fighter IV.  The arcade game was still pretty fresh at E3, and they gave the public a pretty good look at the San Diego Comicon earlier this summer.  Smart move to sit on the console version.  But the big Leipzig news that caught my attention came out of Activision: Guitar Hero World Tour on the 360, PS2 and PS3 will be combatible with all the instruments from previous Guitar Hero games on those systems, and even Rock Band 1 & 2.  It’s about time.

World Tour’s set list, composition mode and exclusive bands are attractive, but Rock Band’s commitment to DLC and serious, curatorial take on the rhythem game are a tough act to follow.  It was shaping up to be a tough choice for gamers (including yours truly) this Christmas between the two… especially for those gamers who couldn’t possibly bring more toy instruments into their living room.

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For Those About to Rock…

Mario 2Since shortly after Nintendo launched the Wii, every Monday’s been a mini-holiday for gamers, when the big N reveals that week’s new additions to the Virtual Console. Last week, they satisfied curiosities and made dreams come true with the first all-import batch of VC titles, Sin & Punishment and Super Mario Brothers: the Lost Levels (Japan’s SMB2).

Sin & Punishment is a well done shoot-em-up. Granted, the VC’s not exactly hurting for these (they’ve got Xevious on there, for god’s sake), but Treasure made this one, so it’s worth a download. By the way, if you have a Wii and didn’t download Treasure’s other fantastic offering, Gunstar Heroes, you’re not allowed to continue reading this.

Of course, I couldn’t resist jumping right into the import SMB2. If you’re even a little bit of a nerd (and you’re reading this, so…) you know the whole story about this game. It never came out in the States, we got a version of Doki Doki Panic with the Mario characters shoehorned in instead, our princess was in another castle, etc. I played through it when Nintendo prettied up the graphics and released it in the Super Mario All-Stars collection for SNES here in ’93.

The beauty of having the emulated VC games on the Wii is you’re playing them in their “natural habitat,” as they appeared on their native console. In the case of The Lost Levels, it’s pretty easy to tell, in the first few minutes, why it didn’t see the light of day on the NES over here. Changes in gameplay are minimal at best – Luigi jumps higher than Mario. Graphically, they’re identical. I honestly wonder how this would’ve been accepted among US gamers that had just recently re-opened their hearts to video games after theET madness that Atari (and Drew Barrymore!) wrought.

Honestly, The Lost Levels looks like someone went nuts with a level editor and the original SMB, and not much else. Maybe the 20 years since it’s release are clouding my vision. It’s entirely possible that I’d have lost my mind over this game if it came out in the US when I was 8 years old and starved for more Mario. But, I think it’s safe to say we expect more from our sequels.

Sports franchises aside, we’ve come to expect big improvements out of sequels. Worlds get bigger, characters get more interesting, maybe we even get online multiplayer in the next go-round. If you’ve spent your marketing dollars properly, a solid sequel can break sales records and move hardware. With that said, one killer franchise could go on seemingly forever, with minimal updates to graphics and gameplay, and hardly anyone could complain. Guitar Hero is an absolute blast to play, three installments later. It’s entirely possible that Guitar Hero is the most sustainable franchise ever.GH

We’re only weeks away from Guitar Hero 3: Legends of Rock. After a flurry of acquisitions in the offseason since GH2, this installation will be the product of a different developer (Neversoft) than the first two — but nobody seems concerned. In contrast, I can’t even imagine what will happen when the inevitable non-Bungie developed Halo game comes out.

The fact is, Harmonix & Red Octane already did the heavy lifting in this series. Because the levels in Guitar Hero are SONGS (that have already been written, recorded, and certified hits), level design is almost a paint-by-numbers affair. Even with the modest starting point of the Beatles’ first appearance on the Ed Sullivan show, there are more than 40 years of rock songs available. Thus, fresh Guitar Hero levels have been waiting on the shelf for 40+ years, designed by everyone from Elvis Presley to Marilyn Manson.

Beyond the stock of readily available levels, Guitar Hero’s appeal is a textbook case in snowballing appeal to casual gamers. As each edition sells more, and garners new fans, more and more bands will allow, and even push for, their music to be licensed for the game. In fact, the Sex Pistols recorded a master track for GH3, and they couldn’t even be bothered to show up for their own Rock & Roll Hall of Fame induction. Need more proof? Check out this year’s awesome, something-for-everyone track list:

· Same Old Song and Dance (by Aerosmith)
· Helicopter (by Bloc Party)
· Stricken (by Disturbed)
· Monsters (by Matchbook Romance)
· Before I Forget (by Slipknot)
· Kool Thing (by Sonic Youth)
· When You Were Young (by The Killers)
· Devil Went Down to Georgia (as made famous by Charlie Daniels Band)
· Sunshine of Your Love (as made famous by Cream)
· Holiday in Cambodia (as made famous by Dead Kennedys)
· Cliffs of Dover (as made famous by Eric Johnson)
· Hit Me with Your Best Shot (as made famous by Pat Benetar)
· Black Magic Woman (as made famous by Santana)
· Story of My Life (as made famous by Social Distortion)
· Pride and Joy (as made famous by Stevie Ray Vaughn)
· The Seeker (as made famous by The Who)
· Black Sunshine (as made famous by White Zombie)
· Miss Murder (by AFI)
· Minus Celsius (by Backyard Babies)
· Sabotage (by Beastie Boys)
· Hier Kommt Alex (by Die Toten Hosen)
· Through Fire and Flames (by Dragonforce)
· In the Belly of a Shark (by Gallows)
· Welcome to The Jungle (by Guns N’ Roses)
· Avalancha (by Heroes Del Silencio)
· Take This Life (by In Flames)
· Number of the Beast (by Iron Maiden)
· Ruby (by Kaiser Chiefs)
· Closer (by Lacuna Coil)
· Cult of Personality (by Living Colour)
· One (by Metallica)
· Knights of Cydonia (by Muse)
· Mauvais Garcon (by NAAST)
· Even Flow (by Pearl Jam)
· Lay Down (by Priestess)
· Bulls on Parade (by Rage Against The Machine)
· 3’s and 7’s (by Queens of the Stone Age)
· Suck My Kiss (by Red Hot Chili Peppers)
· Generation Rock (by Revolverheld)
· Raining Blood (by Slayer)
· Cherub Rock (by Smashing Pumpkins)
· Radio Song (by Superbus)
· The Metal (by Tenacious D)
· I’m in the Band (by The Hellacopters)
· Anarchy in the U.K. (by The Sex Pistols)
· Reptillia (by The Strokes)
· Paint It Black (by The Rolling Stones)
· My Name is Jonas (by Weezer)
· Slash’s Original Boss Battle Recording
· Tom Morello’s Original Boss Battle Recording
· School’s Out (as made famous by Alice Cooper)
· Paranoid (as made famous by Black Sabbath)
· Cities on Flame (as made famous by Blue Oyster Cult)
· Slow Ride (as made famous by Foghat)
· Barracuda (as made famous by Heart)
· Rock and Roll All Nite (as made famous by Kiss)
· Mississippi Queen (as made famous by Mountain)
· Rock You Like a Hurricane (as made famous by Scorpions)
· La Grange (as made famous by ZZ Top)

While I haven’t had the pleasure of playing GH3 yet, be sure to check back for impressions later this month.

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