GREAT COVERS

So what makes a great cover? I think it’s when an artist makes a song his or her own, while still respecting the essence of the original. There are some SoundMusicexceptional covers that completely redefine a song to the point that we identify the tune with the cover artist forever more. And we had a few of those this week in our show about COVERS THAT ARE BETTER THAN THE ORIGINALS.

jazz-150-0John Coltrane transformed The Sound of Music’s perky pick me up MY FAVOURITE THINGS into something of a jazz landmark, so, as our opener,  it served as a very good example of a song that was reinvented for the listener. Another supreme example of a good cover is Ray Charles rendition of the Beatles ELEANOR RIGBY.  His powerful and  moving version uses R & B piano and gospel vocals to create something unique from what was a pretty perfect piece of pop to begin with. Check out this clip from the Dick Cavett show 1972. Loving the Raelettes moves, not to mention the pastel kaftans!

In his latter years Johnny Cash recorded a number of covers that, at first glance, seem at odds with his ‘country’ persona. None is more moving than HURT. Cash takes all the self-pity out of the Nine Inch Nails junkie confessional and turns it into an old man’s devastating deathbed testimonial. Take a look at this video clip. It’s a poignant performance that’s almost haunting, as it was created just prior to Cash’s untimely death. Whether or not you’re a Johnny Cash fan, this performance is powerful and deep with emotion. 

ALL ALONG THE WATCHTOWER from Jimi Hendrix was written, and first recorded, by Bob Dylan.  He’s one of the most-covered musicians in history for a reason: Besides writing some of the best songs of the rock era, he’s made lots of recordings that sound unfinished, even skeletal.The original of ALL ALONG THE WATCHTOWER is spine-chilling in its own strange way, but the song didn’t become a classic until Jimi Hendrix unleashed his version. Hendrix seems to channel pure myth and mystery. Of course, it wouldn’t work without Dylan’s lyrics and unsettling chords, but the Hendrix solos actually sound like wind howling and wildcats growling, don’t you think?

Canadian band, Cowboy Junkies, version of The Velvet Underground’s SWEET JANE was based on the one that was included in 1969: The Velvet Underground Live. Lou Reed himself described it as “the best and most authentic version I have ever heard”. At the risk of including way too many video clips, I have to show you this:

The Lennon/McCartney single, WE CAN WORK IT OUT, comes from the middle of The Beatles most radical creative reinvention, the 1965 shift from steviewonder13the straightforward pop of Help! To the multi-faceted Rubber Soul, which would revolutionise their music, and by extension, everybody’s else’s. So, it’s fitting that when Stevie Wonder covered the song on 1970’s Signed, Sealed & Delivered, he was in the middle of a similar transition from Motown’s teenage wunderkid to the socially conscious and superfunky artist he became in the mid 70’s. Wonder’s performance is so powerful, in fact, that it changes the meaning of the song without changing a word.

We teamed that with Ike & Tina Turner’s version of PROUD MARY. As Tina explains in the fairly subdued preface: “We never, ever do nothin’ nice and easy. We always do it nice and rough.” The Turners – and their band – then tear the intro to shreds by kicking up the tempo, adding horns and driving it all with a beat that practically demands that people dance. By comparison, Creedence Clearwater Revival’s original mid-tempo rock number sounds positively bland. 

One sure-fire way to reinvent a song is to flip the sex of the singer. Two examples of that are  Melanie’s version of the Stones’ RUBY TUESDAY and Regina Spektor’s version of John Lennon’s REAL LOVE

Another is  Janis Joplin’s cover of Roger Miller’s ME AND BOBBY MCGEE. Joplin’s version gave her the only number one single of her career and only the second posthumous number one single in rock n roll history (the first was Sittin’ on the Dock of the Bay by Otis Redding).

Back to boys on boys:   Edgar & Johnny Winter do a wonderful version of TOBACCO ROAD, recorded originally by the Nashville Teens. And idiosyncratic Melbourne performer,  C.W. Stoneking, puts a whole new spin on the White Stripes SEVEN NATION ARMY. The clip is from radio station’s Triple J’s ‘Like A Version’ series, available on CD/DVD. Wild.

My favourite number in this week’s playlist was suggested by a Sydney listener, Lynden (thank you!):  Jazz singer Patricia Barber with her interpretation of Sonny & Cher’s THE BEAT GOES ON. And then Stevie Ray Vaughan gave Jimi Hendrix a run for his money with his version of VOODOO WOMAN. 

Two of my all time favourite R&B artists followed: Al Green taking the Bee Gees ballad HOW CAN YOU MEND A BROKEN HEART to a whole new level and Aretha Franklin showing us how her version of Otis Redding’s RESPECT made it, not only an anthem for the feminist movement and the civil rights moviement, but, her very own signature song. Here’s a great little doco from Ovation TV looking at Aretha’s background and the important place that the song has in history.

English groups of the 60’s, in particular The Beatles, weren’t adverse to borrowing from the American R&B artists of the day to create some of their early hits (think of the Beatles Please Mr. Postman as an example). One R&B song that achieves a great transformation from R&B to rock is the Rolling Stones cover of the  Temptations JUST MY IMAGINATION.

Patti-Smith-799533A male rock song that benefited greatly from being sung by a woman is GLORIA. Patti Smith introduced bisexuality and religious guilt to the horny garage rock song, originally recorded by Van Morrison’s band Them.

BY THE TIME I GET TO PHOENIX was originally recorded by Jimmy Webb. Isaac Hayes takes the listener on an epic journey by re-imagining the song’s entire context so persuasively that by the time he starts actually singing, the emotional force just about knocks our socks off. 

Sometimes it’s hard to listen to any Doors song with a straight face, let alone LIGHT MY FIRE. Jackie Wilson had a bit of fun with his vastly superior version: its pure funk and I love the way Wilson punctuates it with his trademark squeals and screeches. It’s way sexier than the Doors’ psychedelic original, that’s for sure.

One of those songs that will forever be owned by the cover artist is Sinead O’Connor’s NOTHING COMPARES 2 U. Originally recorded by Prince’s group Family but no-one much remembers that now. Here’s the official clip showing her at the pinnacle of her career. Beautiful.

Now before the messages start filling my inbox, I’m sure that I’ve missed some obvious great covers and two hours is not nearly enough time to give credit where credit is due. Let’s go on the record as saying that, yes, every cover of a Leonard Cohen number is probably better than the original (sorry Leonard) but if I hear HALLELUJA one more time I will scream; that Cat Power is very good, but not a genius and that no-one can do Roy Orbison like Roy Orbison, not even kd lang.

And so I chose to go out with the Clash’s cover of  I FOUGHT THE LAW AND THE LAW WON, originally recorded by The Bobby Fuller Four and royorbisonbeatlesthen it was something quite special: ARE YOU LONESOME TONIGHT? was first published in 1926 and was most notably covered by Elvis Presley in 1960. I have no idea when this version was recorded, most probably when the Beatles toured the US in the mid 60’s. It’s Elvis with Roy Orbison and the Beatles doing back-up. I’ve only been able to find it as a download but if anyone has any back story on this, let me know. And the finale was The Beatles covering TWIST & SHOUT, originally recorded by the Top Notes but most people may be more aware of the Isley Brothers version. The Beatles definitely made this one their own.

Here’s the complete playlist, with original artists in brackets:

My Favourite Things (From The Sound Of Music) 4:38 John Coltrane Broadway Originals Jazz 4
Eleanor Rigby (The Beatles) 3:00 Ray Charles Jazz 9
Hurt (Nine Inch Nails) 3:39 Johnny Cash American IV: The Man Comes Around Country 8
All Along The Watchtower (Bob Dylan) 4:00 Jimi Hendrix The Ultimate Experience Classic Rock 4
Sweet Jane (Lou Reed) 3:35 Cowboy Junkies Alternative 8
We Can Work It Out (Beatles) 3:18 Stevie Wonder Greatest Hits, Vol. 2 R&B 6
Proud Mary (Creedence Clearwater Revival) 4:57 Ike & Tina Turner R&B 10
Ruby Tuesday (Rolling Stones) 4:37 Melanie Safka Folk/Pop 3
Real Love (John Lennon) 3:15 Regina Spektor Instant Karma: The Amnesty International Campaign to save Darfur Alternative 5
Seven Nation Army (White Stripes) 3:15 C.W. Stoneking Like A Version Four Alternative
Tobacco Road (Nashville Teens) 4:06 Edgar & Johnny Winter Entrance Blues/Rock
Me And Bobby McGee (Roger Miller) 4:33 Janis Joplin Country/Blues 3
The Beat Goes On (Sonny & Cher) 5:28 Patricia Barber Companion Jazz 4
After Midnight (JJ Cale) 2:54 Eric Clapton The Cream Of Clapton Blues 5
Voodoo Child (Jimi Hendrix) 7:58 Stevie Ray Vaughan Chicago Blues Fest 1985 Blues 6
How Can You Mend A Broken Heart? (Bee Gees) 6:19 Al Green Love & Happiness: The Very Best Of Al Green [Disc 2] R&B 1
Respect (orig. Otis Redding) 2:29 Aretha Franklin (Otis Redding cover 65) Forrest Gump – The Soundtrack R&B 5
Just My Imagination (The Temptations) 4:38 The Rolling Stones Some Girls Classic Rock 3
Gloria (Van Morrison/Them) 5:56 Patti Smith Horses Alternative 5
By The Time I Get To Phoenix (Johnny Rivers/Glen Campbell) 7:06 Isaac Hayes Soul Hits of the 70s Soul 2
Light My Fire (The Doors) 2:51 Jackie Wilson Super Breaks Rhythmic Soul 2
Nothing Compares 2 U (The Family/Prince) 5:07 Sinead O’Connor She Who Dwells [UK] Disc 2 Rock/Pop 5
I Fought The Law (Bobby Fuller Four) 2:41 The Clash London Calling Punk 5
Are You Lonesome Tonight 2:49 Elvis Presley & Roy Orbison (with the Beatles as the backup singers) Rock Ballad 5
Twist And Shout (Top Notes/Isley Bros) 2:33 The Beatles Please Please Me Rock

My Favourite Things (Julie Andrews/ The Sound Of Music) – John Coltrane

Eleanor Rigby (The Beatles) – Ray Charles

Hurt (Nine Inch Nails) – Johnny Cash

All Along The Watchtower (Bob Dylan) – Jimi Hendrix

Sweet Jane (Lou Reed/Velvet Underground) – Cowboy Junkies

We Can Work It Out (Beatles) – Stevie Wonder

Proud Mary (Creedence Clearwater Revival) – Ike & Tina Turner

Ruby Tuesday (Rolling Stones) – Melanie Safka

Real Love (John Lennon)  – Regina Spektor

Seven Nation Army (White Stripes) – C.W. Stoneking

Tobacco Road (Nashville Teens) - Edgar & Johnny Winter

Me And Bobby McGee (Roger Miller) - Janis Joplin

The Beat Goes On (Sonny & Cher) – Patricia Barber

After Midnight (JJ Cale) - Eric Clapton

Voodoo Child (Jimi Hendrix) – Stevie Ray Vaughan

How Can You Mend A Broken Heart? (Bee Gees) – Al Green

Respect (Otis Redding) – Aretha Franklin 

Just My Imagination (The Temptations) – The Rolling Stones

Gloria (Van Morrison/Them) – Patti Smith

By The Time I Get To Phoenix (Johnny Rivers/Glen Campbell) - Isaac Hayes

Light My Fire (The Doors) – Jackie Wilson

Nothing Compares 2 U (The Family/Prince) – Sinead O’Connor

I Fought The Law (Bobby Fuller Four) – The Clash

Are You Lonesome Tonight – Elvis Presley & Roy Orbison (with the Beatles as the backup singers)

Twist And Shout (Top Notes/Isley Bros) – The Beatles

Next week we’re going to Burn, Baby, Burn as all our songs will be about FIRE.
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 2-4pm, Sydney time.    

Also streaming on http://www.bayfm.org

Tragically also on Facebook: http://www.facebook.com/maccalyn

 

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About Lyn McCarthy

Lyn presents a weekly radio show at BayFM 99.9 in beautiful Byron Bay in New South Wales, Australia

Posted on September 30, 2009, in Broadcasting and media, community radio, music - nostalgia, music, blues, music, country, music, r&b, music, soul, Radio Program, Roy Orbison, Uncategorized and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , . Bookmark the permalink. 1 Comment.

  1. Looks like an amazing show…
    and thanks for the credit!

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