Despite all the skill and musicianship involved, cover bands are often looked down on, which is a shame, since putting together a cover band is a big job and a lot of them are actually pretty awesome. So, what is it exactly that separates a great cover band from a mediocre wannabe? In this blog, we take a look at the essential ingredients that go into building a brilliant, successful cover band. We can already tell you that the first thing to be sure of is that you’re creating a band that has its own identity, rather than setting out to make a carbon copy of the original.
When it comes to having your own identity, then Jacko and his cover band Jackfire, offer a great case study. The band is purely made up of brothers, which is already something special in itself – the ‘it’ factor, or unique selling point – as they call it in the business. It doesn’t do any harm that they’re also a warm and friendly, good looking group of humans with decent heads of hair, but more importantly, they all have the talent and the musical goods. They do write their own material, but profile themselves as a cover band with their own musical slant which, if we’re being honest, sometimes sounds even better than the original. This approach gets them a lot of bookings, so sometimes they play as much as twice a week. They also refuse to turn their noses up at smaller gigs, like living room concerts. A paid gig is a paid gig!
Unlike bands that are able to form their identity through their own material, a cover band needs to do a little research and make some clear decisions about their identity. The first decision that needs to be made, according to Jacko, is the kind of cover band you’re going to be. “You could decide to really focus on the music and play everything perfectly, and put together a really good ‘working band’ with great musicians playing the music that they really love. Or, you could put together a band that’s all about entertainment. So rather than focussing on playing everything perfectly, you look at the kind of gigs, events and venues you want to be playing at and adjust your repertoire to fit.”
It’s clear that Jacko and his brothers took the ‘work band’ route, so the music they play is performed as precisely and with as much professionalism as possible. That doesn’t mean that they don’t bring the entertainment, but the emphasis definitely lies on the quality of the music. For Jacko, however, it isn’t the case that a band that focuses more on musicality is better than a band that focuses on entertainment. “Asking the question ‘what makes a good cover band’ is also not really relevant,” insists Jacko, “What makes a good cover band? Well, if you’ve put together a set-list designed to get people moving and… that’s what happens at your shows, then you’re already a success. That doesn’t have to mean that, musically speaking, you’re the most slick and technical band going. There are bands that have incredible musical technique but reach a really small audience. I went to see a band made up of session musicians recently and the playing was incredible. But all the bands on the other side of the city had stolen the audience. So, which band is better? There’s just no point in asking.”
Tailor Your Repertoire
Once you’ve figured out what kind of cover band you’re going to be, you need to pick out a repertoire that suits your approach, or adapt the repertoire to suit it. “That’s how I try to approach things. I consciously look for the songs that suit us and if I find a song that doesn’t fit, then I’ll see if I can adapt it so that it will make sense to the audience that we’re playing it for. I mean, we look like an eighties hair-metal band, so we can’t exactly cover a Tiësto banger, unless, of course, we turn it into a hair-metal banger. By changing the arrangement to match your style, you can really surprise the audience with something they know really well by playing it in a way they’ve never heard before.”
“You really need to pick songs that, as a band, you’re able to capture the essence of. We only alter songs slightly so that they match up with our identity. We also decide on songs that are going to get us gigs which, in musical terms, can result in a fairly flat repertoire. This is something we try to counter with some fun transitions or arrangements. Some songs are a real musical challenge and others are a challenge if the keyboard player wants to add something fun of their own. Then there are the songs that have been played a billion times already but, as a cover band, you just have to play them again. That’s part of the job. You can’t leave those kinds of songs out of your repertoire because the crowd will always love them. The way to balance things is to play those songs your own way.”
Jacko is a professional musician and his band, Jackfire is just as professional. This means that they play as much as possible and have stacked up a small library of set-lists, each curated for specific occasions, so they have something for everything from a local festival to an acoustic gig in a cafe. “As a band, you need to know that the set you’re playing is going to work for a specific venue and audience, otherwise it makes little sense to promote yourself for a specific occasion. Anyone who books you wants to be sure that they’re getting what they’re paying for, and if you want to be professional, then giving them what they’re paying for is essential. For a band that’s only playing every now and then, this matters a little less. But if you want to be playing all the time and maybe earn a living from it, then your repertoire needs to be as wide as possible.”
The decisions you make about your identity and repertoire usually go hand in hand. Most bands start without having made any clear decisions, but as soon as you get booked, people will naturally want to know what kind of band you are and what kind of music you play. This forces you to start making the clear decisions that will help make your band memorable. This can be tough for musicians like Jacko who loves to play a lot of different music. For Jackfire, being a ‘band of brothers’ is definitely memorable, as well as the musical talent. Of course, there are exceptions: cover bands that come out of nowhere and immediately gain a following. Jacko calls them the ‘fun bands’. “I went to see this band made up of a double bass, a guitar and drums and they played nothing but hard rock but with pure rock ‘n roll style. I had a chat with them afterwards and they told me that they never set out to play hard rock in a fifties style but things suddenly fell into place and they started getting booked everywhere.” While they may not have been conscious of the decision, this band has an immediately clear identity – one that booker’s definitely seek out.
Besides deciding on the general identity of your band and the music you play, a cover band also needs to have some specific feature that sets them apart and ensures success. A good example is Joe Cocker, who lent a really distinctive singing voice to his cover songs, which is exactly what gained him his notoriety. In short: a successful cover band needs to have something unique to offer. “You could achieve that by being the cover band that plays every song and line precisely, down to the finest points. You could decide to be the band that plays a massive range of songs, each of which is a crowd pleaser, or you could choose to be a proper tribute band. You could even distinguish yourself on style, by only playing blues, jazz or even Euro pop. A really unique vocal sound, like Joe Cocker’s, or a really impressive guitarist can serve as your signature stamp. Basically, you need to seek out that ‘something special’ that your band has and then emphasise it. This could even be a specific instrument, like a double bass, banjo, ukulele, mandolin or a Hammond organ. Anything that’s going to help create some buzz, make you memorable and get you booked.”
Chemistry is also important. When a band has good on-stage chemistry, the audience responds in kind, and you can only gain that good chemistry by rehearsing a lot and playing a lot. It’s also worth agreeing on what you say and do on stage. Jackfire have played so many gigs together that their chemistry is self-evident. Due to other musical commitments, the band rehearses less than they used to, but their chemistry is so ingrained, it’s there as soon as they step onto the stage.
According to Jacko, any cover band that’s just starting out needs to rehearse as much as possible – at least once a week – and, at the same time, make sure that their gigging schedule looks nice and full.
Being able to communicate with your audience, have some good patter and banter is another important part. “Not every band member needs to be able to pull out the wit on stage. Our drummer, for example, wouldn’t be too happy if you suddenly shoved a microphone in his face and asked him to tell a joke. He’s just not that kind of performer. But as a band, you need to have some on-stage character, otherwise you might as well just line up a playlist and hit start.”
Jackfire’s success isn’t just the result of their clear identity and musicality. According to Jacko, being able to network is also essential. The brothers have played in other bands in the past which helped them build a list of contacts that they often use to gain bookings. The band appeared on the German edition of The Voice and as a result, many of Jacko’s old contacts reached out, leading to even more bookings. “As a band, you need to be able to build and maintain relationships with good contacts. It’s actually a good idea to assign someone this job. This doesn’t have to be a manager, it can just be a couple of band members who don’t mind doing it.” As good as they are at networking, Jacko mainly attributes the success of his band to their passion for the music. “I’ve been doing this for a long time already and I’m still as dedicated and into what I’m doing. People know that they can call me in the middle of the night to ask if I can play and that I’ll probably say yes. My brothers are the same. I’m also really flexible and, because I’ve been playing so long, I have a really big network. I’m a musician before everything else though.”
How Do You Play a Good Cover?
Now, we’ll take a look at the craft involved in being a cover band: how do you play a good cover? There are a number of approaches you can take, but here, we’re going to focus on coming as close as possible to the original recording. Just remember: an exact copy is never possible and isn’t actually necessary. Instead, the point is to kind of capture the essence of a song. “The first question a band should ask themselves is: what intention are we playing this song with? What kind of feeling are we trying to create? Does it need to feel like a pop ballad? Or are you playing fusion and want to let the audience know what you can do? Maybe you just want hands in the air and conga lines,” says Jacko. These are just a few examples of what you can do with a cover song. Most bands, of course, try to repeat what’s on the record as closely as possible, often with more limited tools, since the original is often packed out with the bells and whistles of a studio recording. You’re playing the song live, so most of the time, you won’t be playing all of the instruments that are on the original track. In that case, how do you retain the essence of the song?
Check the Key
“Before you even start work, you need to check what key the song’s in for the vocals,” advises Jacko. “It’s not always going to be the case that the original key is a good match for the vocal range of your singer. This is definitely something you’ll want to check if you’re working on a song that’s usually sung by a female vocal and your lead vocal is male, and vice versa. If the key isn’t a great fit for your singer, then find the key that is. The key doesn’t totally depend on the range of your singer,” says Jacko. “What the singer is doing can also be a deciding factor. For example, I had to sing ‘Don’t Stop Believing’ by Journey at a wedding party while sitting at a piano. So I could keep my vocal more subdued and relaxed to match the setting, I chose a key that was an entire octave lower than was necessary for me. If I was playing the same song in a big venue then I would have gone an octave higher and really belted it out.”
By changing or transposing the song, it can sound a little different. If a song needs to be shifted up by three notes it can suddenly lack some of its original low-end depth. According to Jacko, “Those sorts of differences are never a problem for the audience because most people only focus on the lead vocals when they listen to a song anyway.” But, if transposing a song does leave you feeling that something is missing, then try to compensate for it somewhere else. “You could achieve that by doing things like fatten up the vocal in some parts by adding a three-part harmony to give it some extra power.”
For a lot of cover bands, it can feel limiting not to be able to play every part that’s on the original. “In that case, you need to pick out all of the most essential parts, make sure they’re actually playable and make sure that they’re the parts that your audience will immediately recognise,” advises Jacko. Say you’ve picked out your parts, everyone’s done their homework, you’re playing the song for the first time in the rehearsal room and you notice that something’s off but can’t quite put your finger on it. What then? What do you tweak to figure out how to make things sound better? “In reality, the song could probably stand on its own with nothing more than the lead vocal, the bass line and the chords,” says Jacko. “Actually, you could even get away with just the bass line and the lead vocal. So, check that those bits are sounding right first. If they’re not, then you can add as many extra elements as you want and it won’t make any difference. Make sure that the bass and vocals are on point then go from there.”
While not everyone actually listens closely to the bass line, it’s surprisingly the bass line that determines the recognisability of a song. According to Jacko: “You can recognise a song by just the bass line and the vocal melody.” He also remarks that the bass line in a lot of recent songs is less decisive than in older songs. “Older song-writing was a lot more riff-driven. Contemporary songs use a lot of the same chord progressions, which makes them hard to distinguish from one another. What does make them different is more specific, short musical phrases, or hooks that are usually repeated throughout the track. Songs used to be more story-like, but that applies much less these days.”
The Bass & Drums
Say the lead vocals, the chords and the bass line are locked in nicely, but when the rest of the band comes in, things suddenly sound wrong. What’s the next thing that needs looking at? Jacko: “If you want to play a cover that comes as close to the original as you can get, then the bass and drums play a really serious role since they need to really mimic the feel of the original, so the energy and maybe the aggression. If that’s not happening, then you just won’t get the message across.” So, if the vocals, bass and drums are your first layer, the guitars and keyboards are your second layer. As Jacko knows all too well, “…the risk here is that guitars and keyboards can quickly get in each other’s way and start to overload the song. Try to keep things sounding open. You can easily stay out of each other’s way by dividing up the roles so that everyone has their part to play. Once you’ve figured that out, record yourself to check that everything’s working. If one of the guitars and the keys are playing the same part then you need to make sure that their timing is really locked in tight.”
Keep it Interesting
“Another thing you need to check is whether or not you’re keeping the song interesting,” comments Jacko. “The energy of any good song shifts so you need to make sure that those shifts – those lifts and falls – are happening. Also, you need to make sure that the chorus has a different energy to the verse. Are the guitars and keyboard carrying on with the chords or can they switch things up and play the melody to make the song more interesting?”
Another tip: not everyone needs to play every part of the song. By playing absolutely nothing in one part and then adding something in another can really help keep a song interesting. A hot topic for a lot of bands concerns the left hand of the keyboard player. Most bands forbid their keyboardist to play the bass line with their left hand, like a solo pianist would. “This is to prevent the keyboards from getting in the way of the bass guitar,” says Jacko. “But a well played and well placed keyboard bass line doesn’t have to mess with what the bass player is doing. Someone like Elton John almost always plays the bass with his left hand. So it’s not impossible. The trick is never to play any lower than the bass guitar.” In some music, doubling the bass line on the piano can really work. “In classic rock ‘n roll, that can sound really nice since it makes the music pound harder,” admits Jacko.
Too Loud & Too Fast
Ok, so what’s the most common mistake that cover bands make? Jacko is pretty resolute in answering this question: “Playing too loudly. That’s definitely at number one. It’s a mistake I’ve definitely made and sometimes still make myself. Playing too loud is a big reason why a lot of people won’t book bands in some smaller venues that don’t necessarily have a licence. If a band wants to play a lot, then the most important advice you can give them is: never to play too loud.” Why do bands play loud? Jacko has his theories: “Sometimes, it’s to compensate for less-than brilliant musicianship. So the thought goes: the louder you play, the better it sounds. It can sometimes be because of a little insecurity. A common argument is that the drummer can’t play any quieter. This is a misconception. A drummer is definitely capable of playing a fat beat without hitting too hard. It just takes some technique adjustments and practice.”
Another common mistake is playing a song too fast. “It’s really easy to get overexcited and start speeding up the tempo. Adrenaline has a lot to do with it. It can help if the drummer has a metronome nearby, so they can check the tempo of each number. But there’s not always time for that. So when there isn’t, there’s no other option but to try to keep calm and retain an overview of things.” Another thing that really helps to keep the tempo at a steady rate is good playing technique. “If you haven’t mastered the more complex lines completely, then you will almost inevitably speed up as soon as you hit them. So, it’s really worth drilling those more difficult lines until you can play them without thinking about it. If that doesn’t work, then simplify the part.”
Good to Know
Nailing the Chords
If you’re busy figuring out the chords of a song, then a quick internet search will do, but watch out! A lot of the chords for songs you can find online are wrong, so use your ears and double check that they’re right. Of course, if you’re a decent musician, you’ll be able to figure out the chords yourself, but sometimes the internet can be a handy tool if you need to speed things up a bit. YouTube is also packed with good musicians who have already done the work for you and offer clear tutorials for playing specific songs. The fact is, to be able to figure out the chords of a song yourself, you need some knowledge of chords as well as a well trained ear. The more often you do it, the better and quicker you’ll get at it. Tip: listen to the bass. The bass almost always plays the root note of the chord on the first count, so it can give you a good clue about which chord you’re looking for. Then, you just need to check if the chord is a major or minor and, lastly, whether there are any little extras thrown in like a seventh and so on. Slowly but surely, you’ll be able to piece everything together. Another tip for the more advanced musicians, is to think of the song in intervals. So, not just C-Am-F-G, for example, but I-VI-IV-V. That way, you can figure things out much faster and, if you do need to transpose the song into a different key then thinking in intervals will make the process far easier.
The Transpose Button: Friend or Foe?
Most digital keyboards come fitted with a transpose button as standard. Hit it and you immediately shift the pitch up or down by a semitone or whole note to play in a different key. There are even some guitars that feature a form of transpose button. But, while a transpose button might look and sound pretty useful, they’re also pretty risky. Anyone who’s used one will know how easy it is to forget that it’s on and start playing the next song in the wrong key. With that heady mix of excitement and adrenaline that happens when you’re on stage, it’s a mistake that’s just too easy to make. “I just never use them,” admits Jacko. “It’s actually much easier to do the work and learn the song in a different key.” However, when working out how to play a song, Jacko does find the transpose button useful. “Then I use it the other way around, so to speak. So, if the original song is in G and we need to learn to play it a whole note higher, in A, then I can use the transpose function to lower everything by a whole note and figure out the song as if I’m playing it in A, but I can play it in G so I can work out the whole song.”
I Was Made for Clonin’ you
Putting on a mask to be yourself might sound like a paradox, but it’s possible. Tribute band KISSterious regularly do it while teetering atop a close-to twenty-centimetre-high pair of platform shoes – a great height that gives them a completely different perspective. The band manages to show that even a dedicated tribute act can carve out their own identity and success.
No Foo Fighters
If you want to start a tribute band, then avoid bending the knee and pledging allegiance to the Foo Fighters – they have more than enough tributes already. For The Battle of the Tribute Bands, no less than six iterations of the Foo Fighters signed up. Maarten van Schoorl, guitar school owner and KISSterious founding member, takes it all in his stride. He signed up his all-new tribute to the stellar American glam and show-rock band, Kiss, for the competition, but their entry was denied:
‘Thank you for your submission. We hope that you try again next year.’
“I thought not,” says the guitarist while he offers me the piece of licorice he’s just plucked from his Kiss-themed Demon candy display. Van Schoorl is such a big Kiss fan that his house is rammed with every conceivable bit of paraphernalia. There’s a brutal axe-shaped bass mounted on one wall and a full cabinet of Kiss-stamped trinkets in one corner. He’s had the ‘Kiss bug’ for over thirty years, having been bitten when the band was experiencing its ‘second youth’ with the disco-esque hit, ‘I Was Made for Lovin’ You’. “I was ten years old when I first heard that music and saw those painted faces and that bombastic live show full of fireworks and blood. It made a really deep impression. They were like living cartoon characters: The Starchild, The Demon, The Spaceman and The Catman. I was crazy about them. When I was a bit older, I started listening to the work they made in the seventies. It’s brilliant and it made me want to do nothing but learn to play the guitar like Ace Frehley.’’
Van Schoorl grew into a talented, all-round guitarist with leanings towards the classic hard rock repertoire, à la Chicken Foot, due to the strong influence of guitar virtuoso, Joe Satriani. For a number of years, he was a member of the cover band Huphter, who were known for pushing decibel meters into the red in venues across the country. Kiss had been absent from his musical life for a while, but the band came back into full, obsessive focus when Huphter was asked to play a festival they’d already played umpteen times before and one of the band members suggested that they do something different this time. A mystery show, maybe? Maybe even a Kiss tribute? “So, we loaded up a confetti cannon and walked onto the stage as KISSterious. No one knew that it was Huphter behind all that makeup,” remembers van Schoorl.
For the guitarist and his band mates, those Kiss outfits immediately felt like a second skin. But, who wouldn’t want to do something like that? A bunch of forty-somethings, on the edge of the obligatory mid-life crisis, donning the threads and playing the music of the band they idolised when they were ten years old? This departure from what the band was doing before isn’t about boredom, or a mid-life crisis. It’s about their versatility, their unity, their musicianship and their bravery to do something simple. “Kiss: Keep it simple, keep it stupid,” says van Schoorl. “Kiss’ music isn’t all that technical, but the guitar solos really lock in together.” Esmond Buesink, the other guitarist, has just joined the conversation and nods in agreement. He and Van Schoorl share the load when it comes to the solos. Since Kiss fans know them backwards and can even sing along, they play every solo note for note. For their live show, KISSterious took the 1975 live album ‘Alive!’ as their starting point. According to the tribute band, this is the most authentic Kiss album going and really shows the band at their best.
The Five-Member Lineup
Even any casual fan will know that Kiss is made up of four musicians while KISSterious has five. This is because their singer, Erik Dekker, doesn’t play an instrument. While Dekker takes on The Starchild character, KISSterious boasts not one but two Spacemen, where Van Schoorl has smartly modelled himself on the earlier Spaceman, Ace Frehley while Buesink’s Spaceman is based on Tommy Thayer’s version – the current Kiss guitarist.
Having an extra member in the band in no way messes with the energy when it comes to delivering the authentic Kiss repertoire, according to van Schoorl. And, judging by the response of their audiences, the performance never disappoints. KISSterious are even said to play tighter than the real Kiss, which might be fair, since the band leaders and founders, Gene Simmons and Paul Stanley passed sixty some time ago already. While modest, Van Schoorl and Buesink evidently love this positive assessment but admit that, while they definitely sound-alike, KISSterious could still make some progress when it comes to the ‘look-alike’ bit of being a tribute band.
With a run of shows behind them already, the band is working on the performance aspect of things, yet still manage to stand solid on those seven-inch platforms – even on smaller stages, where just staying upright proves more of a challenge. Try making any crazy moves and you literally risk breaking something! Drummer Raymond Liebrand, who doubles as The Catman, walks on stage in his heels but, as soon as he’s behind his kit, swaps them out for trainers just so he can play the kick pedal. For the guitarists, operating a pedalboard is a touch more tricky: “I often hit three pedals at once on those platforms. They’re not exactly practical. But there is something special about suddenly standing almost twenty centimetres taller on the stage. You see the world a little bit differently.”
It might have started as a joke – a bit of fun – but KISSterious still has a perfectionist’s approach. If you’re putting together a tribute band, then you have to get everything right. In that sense, you could compare the level of work involved to preparing to perform a piece of classical music. And yet, the tribute band concept will never garner as much respect in the music world as yet another production of The Magic Flute. Classical musicians perform an interpretation of a piece and, in a sense, give themselves up to pure authenticity. What tribute bands do is perform an artful trick, but the intention is essentially the same. Rather than just being about mimicking the original material, it’s about delivering the ultimate performance and, if possible, actually exceeding the original.
Tribute bands don’t make life easy for themselves. Especially Kiss tribute bands. It’s a mammoth of a challenge to pay tribute to a band whose trademark is basically a big showmanship-overdose. Just sticking on the outfit isn’t enough – even if it is official Kiss garb shipped in from the USA (but made in China, apparently). The same applies to the boots. Cheap wigs are taboo among the KISSterious members as well. The first batch of wigs apparently went straight in the bin. Their new, high-quality wigs were taken to a hairdresser to get properly cut and styled. Even getting the right shade of white face paint proved a challenge. “We use ‘White 9001’. It matches better with your teeth,” laughs Buesink. For their first photo shoot, the band hired a makeup artist for the day but now, following hours and hours of diligent YouTube tutorial study, they each do their own makeup before every show now. Every member comes kitted out with their own oversized beauty case complete with a built-in mirror and, for the normally bearded Catman, the pre-show routine also involves a clean shave. Once the transformation is complete, every band member needs to remember to keep their face fresh, so wiping sweat from your eyes or scratching an itchy nose mid-set is an absolute no-no. Before the show, a cocktail stick is on hand to carefully scratch any itches. The result? One forty-five minute set that requires three hours of preparation. That’s dedication.
The most active onstage role is reserved for bassist (A.K.A. The Demon), Luigies who, decked out in his bat suit, totes a replica of the iconic Axe bass which he occasionally swaps out for the just as iconic Punisher bass. During the bass solo on God of Thunder, Luigies mercilessly bites down on a fake blood capsule (thankfully made of syrup) and spits blood all over himself – and all over his bass. Even after all of that, Luigies admits that he could do with perfecting his act. He’s the devil incarnate, right? Luckily he has been blessed with the signature Gene Simmons tongue, so we’re sure his performance will only get better.
While any Kiss band will want to come as close to the original as possible, they’ll all face at least some limitations. Kiss play in gigantic stadiums where they light up the stage with complex pyrotechnics. An immense curtain of fire is suspended from aerial platforms at the back of the stage and, at the end of the show, it goes off, creating an inferno of fireworks that illuminates the entire stadium. During the show, Gene Simmons flies into the air and lands perfectly on a concertina lift; singer and guitarist, Stanley flies over the heads of the crowd, before alighting on a moving stage; and Spaceman Thayer shoots smoke out of his instrument every time he plays a solo. Try doing all of that in a backroom bar on a Thursday night.
It’ll be a while before KISSterious are able to hire their own dedicated firework team. When it comes to money, booking KISSterious for a gig already costs 100 quid more than booking a Huphter gig, but what you get in return is even more sweat and hard work – especially in those wigs and nylon suits. Also, their hefty few-thousand-pound investment needs to pay off. Kiss tribute bands also have to be really careful they’re not peddling ‘pure’ Kiss imitations. Founding member Gene Simmons is notorious for taking legal action against any unauthorised use of the Kiss name and logo. KISSterious is 100% pure tribute. As their online biography reads, they’re just ‘five men reliving their youth,’ something very different from trying to capitalise on the million-dollar success of their inspiration.
Worldwide Kiss Tributes
There are loads of Kiss tribute bands all over the world and, looking at the list, the process always seems to start with finding a creative (or in some cases, less creative) Kiss-related band name. To round a few of them up, we have Kisstory from Belgium, Dressed 2 Kill from Canada, Dressed to Kill from Italy, Kiss This from the USA, Hotter than Kiss from France, Kiss of Death from Spain, Kiss World from Hungary, Tributo a Kiss from Peru and, winning the Best Kiss Tribute Band-Name Title in one fell swoop, Snog from the UK.