If you’re a child, there’s something quite comforting about WHISPERING. It can also be fun, if you’ve got a secret to share. For adults whispering often falls into two categories: it can take on a seductive tone or sometimes it can be quite sinister. Our playlist this week featured songs that do both. Check out the links to background and video clips at the BayFM site HERE and, more importantly, tune in 1-2pm Mondays and take your lunch at BayFM’s Theme Park, 99.9 on the dial or streaming at bayfm.org
Each week I’ll feature one video link here just to keep you amused. This week it’s Cowboy Junkies doing a cover of Lou Reed’s SWEET JANE.
Next week all the songs will reference America – falling on July 4th it was a given. I’m looking for songs about the country as a whole: its culture, its history and its relationship with the rest of the world. Any suggestions? Send them to email@example.com
Listen to Lyn McCarthy at the Theme Park on BayFM at the new time of Mondays 1–2pm, Sydney time
Also streaming via BayFM
Email me at: firstname.lastname@example.org
Drive to Mullumbimby on any given day and you will find buskers on sitar, buskers on guitar and kids out-busking them all. There’ll be a shirtless bloke in a kilt on his mobile, a nice neat Nana off to the doctor and a seedpod of single mums outside Santos health food store sharing tips on crystal deodorant. There’s pie eating workmen, emo teenagers skipping school and eating chips on the pavement, a hot pink mariachi man hitching a ride home and some disheveled rock star buying his groceries. In ‘Mullum’ the whitened teeth brigade hold court with the toothless, and everywhere people are talking, laughing, hugging, complaining, gathered in groups, dotted in shops, drinking coffee, playing drums: it’s a small town symphony of noise. This is a vibrant, flawed gloriously messed up cacophony of community. Mullumbimby needs to be heritage listed. They just don’t do small towns like this anywhere else in Australia!
Once a year the town of Mullumbimby opens her arms to the world and invites them to experience one of the most unique music events in the country: The Mullum Music Festival. This year, from Thursday to Sunday 25 – 28 November, venues throughout the town host over 100 performances, with festival goers able to amble from gig to gig through the streets of Mullumbimby. It’s a festival for everybody with men, women, children and clowns, able to participate in this demographically and stylistically inclusive event.
One of the big drawcards of this year’s festival is Washington. Megan Washington was unearthed by Triple J only a year ago and since then she and her band have been on a non-stop round of performances culminating in the recent Aria Awards where she scored six nominations and won two awards in the categories of Best Female Artist and Breakthrough Artist. The festival’s program promises an all singing, all dancing affair with costumes and cupcakes and plenty of suprises. I think she’s going to be huge and this may be one of the last chances we have to see her in such an intimate environment. Here she is talking about the inspiration for her album I Believe You Liar.
I had hoped to have the director of the festival, Glenn Wright, into the studio for a chat but with only two days to go before lift-off, Glenn didn’t make it. But he very generously donated a day pass to the festival for one of the BayFM subscribers and that was one by Jay. Congrats and thanks to Glenn for your generosity.
If you’re a fan of reggae, rock steady and ska then Sydney group King Tide are for you. They’ll perform at the festival on Saturday night. I particiularly like the track ROCKERS STYLE. Just to prove the diversity of the festival’s line-up we followed with Nashville singer-songwriter Mary Gauthier with MARCH 11, 1962 from her latest album, Foundling. Produced by Michael Timmins of the Cowboy Junkies, it’s an amazingly honest album that draws inspiration from her own life. Achingly beautiful. Here’s an amateur video taken at a performance in London June 2010:
We followed with Heath Cullen & The 45s with BREAK MY HEART, which might just have a back-story of its own. Heath is a highly regarded guitarist having graced all of Lucie Thorne’s most recent recordings, amongst others. In this video clip he’s performing with the 45’s: Jay McMahon, drums; David Hibbert, guitar; Robyn Martin, bass; Jason Coman, guitar; and Pete Wild, keyboards.
Tijuana Cartel are amazing. They’re the band to see if you want to get up and dance. It’s a wild combo of funk, hip-hop, reggae, flamenco with a Middle Eastern flavour. We played an oldie but a goodie of theirs: RISE UP from their debut album Frequent Flyers Redeemed.
A late addition to the festival is UK singer Gemma Ray. Here’s a brilliant video clip of the track 100MPH (IN 2ND GEAR). Directed by Miranda Bowen and edited by Leo Scott its got an almost Lynchian sensibility. Love the song, love the video.
One of my favourites is the gorgeous sister act, Scarlett Affection. Nerida and Melia will be performing at the festival in their own right and will also be supporting students from their new contemporary music school. A little birdy told me that there is some amazing talent coming out of the Scarlett School, so I’m really looking forward to that performance on Saturday in the Civic Hall. One of my favourite songs of theirs is ROMANTIC from their album Our Sweet Ambush.
Sunshine Coast based Oka are a genre defying group who know how to get a room up and moving. MUSIC MAKES ME HAPPY showcases the throbbing, earthy beats of tribal music for the digital age.
Pieta Brown comes straight from the American heartland. Her father is renowned folk singer Greg Brown whose songs have been covered by Willie Nelson among others. Described as a cross between Loretta Lyn, P.J. Harvey and Cat Power, she’s one of the highlights of the festival. Here she sings HEY RUN from the Remember The Sun album.
Jazz fans won’t be disappointed as the much admired Vince Jones returns to Mullum. We played his very smooth rendition of AUTO FREAKS and followed with another brilliant local artist, Gyan, with a track from her latest album Superfragiistically, WWW.
It was great to be able to speak to two of the artists appearing at the festival, live in the studio. First up, comedian, acrobat, juggler extraordaire Joel Salom had me in stitches as we talked about his gig as MC of the opening night on Thursday and his solo slot on Friday night. Here he is performing with Circus Oz and he did suggest that there may be some ‘accidental’ stripping at Mullum as well.
The opening night of the festival not only features Joel as MC but it features an amazing line-up of talent: Pieta Brown, The Rhythm Hunters, Nano Stern, Flap!, Dick & Christa Hughes and Mama Kin. Quickly gaining a reputation for an act not to be missed, Mama Kin’s music is powerful stuff. We featured I’M GONNA DO IT, from her album Beat and Holler.
Local musician and producer, Christian Pyle, also paid us a visit and it was a pleasure speaking to such a down to earth artist who is clearly very talented. We played two of the songs from his solo album, Nothing Left to Burn – RAY OF YOUR SUNSHINE and TREES & STONE. Christian will be peforming on Saturday and, as well, he’ll front up with the band Ghost Mountain on Sunday. Christian told me that with Ghost Mountain they’re a very seasoned band who all bring their own influences to the music. We played EVERYTHING’S OK from the album Art Without Audience.
Christian also produces an array of artists out of his studio in Goonengerry. One of them happens to be one of my favourites of the moment. M. Jack Bee is a storyteller par excellence and his latest album, In Loops is a beauty. I particularly like the track MOTH. This video clip was filmed by Christian in his studio when they were recording the song. Watch to the end when Christian makes his own appearance. Let’s call it a Hitchcock moment!
Also returning to the festival, and all the way from Darwin, is Leah Flanagan. I saw her perform last year and she was brilliant. She plays a mean ukelele, so for me that just makes her show compulsory. Another group returning to Mullum are the equally talented Tinpan Orange. Their latest album THE BOTTOM OF THE LAKE is a great indication of the breadth of their talent.
How good is Jordie Lane? His song FELL INTO ME from his album Sleeping Patterns, is on constantly at my house at the moment. He’s performing on Saturday and Sunday at the festival and also on Sunday with Jen Cloher, which should make a hot double-bill. Here he is talking about how he recorded his previous album, Lovers Ride, for under $A150! Incredible.
We finished the show on a suitably alternative note with Mojo Juju & The Snake Oil Merchants. What can you say about these all-round performers who meld jazz, rock and punk into a vaudevillian show that is pure entertainment. Here they are performing CATCH A FIRE at another of the great festivals that we host up here in the Northern Rivers, The Byron Blues Fest:
Thanks so much to everyone at the Mullum Music Festival, in particular my guests Joel Salom and Christian Pyle.
Next week, I’m rec0gnising World Aids Day (December 1) with SONGS ABOUT HOMOSEXUALITY. Now before you all start leaving me messages about HIV and AIDS not being a gay disease. I know that! But let’s recognise that its the gay community that have been at the forefront of political activism, not only fighting discrimination but also promoting understanding and support for ALL people suffering from this dreadful malady. So let’s celebrate the gays! Any suggestions? Let’s concentrate on the song, rather than the singer. Just because Dusty Springfield was gay doesn’t make The Look of Love a gay song, now does it? Hmmmm.
So, while you’re pondering that list, check out this week’s:
I Believe You Liar – I Believe You Liar, Washington
Rockers Style – RoOTS POP Reggae, King Tide
March 11, 1962 – The Foundling, Mary Gauthier
Break My Heart – Heath Cullen
Rise Up – Frequent Flyers Redeemed, Tijuana Cartel
100 mph (in 2nd Gear) – Lights Out Zoltar!, Gemma Ray
Romantic – Our Sweet Ambush, Scarlett Affection
Music Makes Me Happy – Music Makes Me Happy, OKA
Hey Run – Remember the Sun, Pieta Brown
Auto Freaks – Moving Through Taboos, Vince Jones
WWW. – Superfragilistically, Gyan
Ray of Your Sunshine – Nothing Left to Burn, Christain Pyle
I’m Gonna Do It – Beat And Holler, Mama Kin
Trees & Stone – Nothing Left to Burn, Christian Pyle
Everything’s OK – Art Without Audience, Ghost Mountain
Moth – In Loops, M. Jack Bee
Tipsy Tango – Making Waves, Leah Flannigan
The Bottom Of The Lake – The Bottom Of The Lake, TinPan Orange
Fell Into Me – Sleeping Patterns, Jordie Lane
Catch a Fire – Sellin’ You Salvation, Mojo Juju and The Snake Oil Merchants
Next week: SONGS ABOUT HOMOSEXUALITY
You may be surprised at the scope of this week’s topic because when it comes to Elvis Presley, well nearly everyone’s got an opinion. The iconic nature of Elvis Presley in music and popular culture, has often made him a subject of, or a benchmark, in numerous songs. We launched the show with CALLING ELVIS by Dire Straits. Written by Mark Knopler and released in 1991, the song is about an Elvis fan that can’t believe that Elvis Presley is dead. Based on some of the bizarre ‘sightings’ over the years, I fear he is not alone.
A song from one of my favourite films followed: Public Enemy’s groundbreaking FIGHT THE POWER from the soundtrack of DO THE RIGHT THING, directed by Spike Lee in 1989. Like the film, the song broke at a crucial period in America’s struggle with race. Unabashedly political, FIGHT THE POWER was confrontational in the way that great rock has always been. It attacks a whole roster of American icons including Elvis and John Wayne in what amounts to a virtual flag burning. Because who better embodies the American ideal than the King? The song goes so far as to call Elvis racist. I don’t agree with that. But what I do know from the National Archives is that in 1970 Elvis wrote a six-page letter to Richard Nixon asking him to make him a ‘Federal Agent-At-Large’ in the Bureau of Narcotics and Dangerous Drugs. And amongst the gifts that Elvis presented to the then President was a Colt-45 pistol. So what do we make of all this? Maybe only that, like a lot of his countrymen, Elvis was a misguided patriot who defended the nation’s order – an order from which blacks, in particular, had been routinely barred. The irony, of course, is that Elvis was the first artist to successfully blend black and white music: country music and the blues. And didn’t he do it well?
It was time for a change of tone: The very whimsical and wonderful Kirsty McColl with THERE’S A GUY WORKS DOWN THE CHIP SHOP SWEARS HE’S ELVIS. The song made an appearance on the FAMOUS PEOPLE show, but definitely deserved another spin. We followed with Richard Thompson’s FROM GALWAY TO GRACELAND.
Robbie Williams’ ADVERTISING SPACE is a song not only about Elvis but, also, about the price of fame. Emmylou Harris followed with BOY FROM TUPELO. In case you weren’t aware Elvis was born in Tupelo Mississipi on January 8, 1935. And then it was the great Roy Orbison with HOUND DOG MAN.
Living Colour funked it up with their critique of the tabloids. The song ELVIS IS DEAD ups the ante with an appearance by Little Richard. Check it out.
We dived into the second hour of the program with Ann Margret singing the title song of the film BYE BYE BIRDIE. Based on the stage musical of the same name, the story was inspired by Elvis Presley being drafted into the US Army in 1957. Jesse Pearson played the role of teen idol Conrad Birdie, whose character’s name is a wordplay on another singer of the era, Conway Twitty. The film is credited with making Ann-Margret a superstar during the mid-1960s, leading to her appearing with Elvis Presley in Viva Las Vegas in 1964.
A couple of great songs were suggested to me by BayFM’s very own Cowboy Sweetheart, Carrie D. First up, Bap Kennedy with GLADYS & VERNON about Elvis’s parents and the night that Elvis was born. And then it was the great Waylon Jennings with the very entertaining NOBODY KNOWS.
I absolutely adore BLACK VELVET by Allanah Myles and have played that before. But, hey, when a song’s as good as this one it deserves a replay!
U2’s song ELVIS ATE AMERICA illustrates the many personas of Elvis, both good and bad. And then it was the romantically delusional Scouting For Girls with ELVIS ISN’T DEAD: “Elvis isn’t dead ’cause I heard him on the radio….. and you’re coming back to me.” Yeah, sure guys.
Time to get serious: First up, Kate Bush with her hit song about Elvis – KING OF THE MOUNTAIN. And then, Nick Cave & The Bad Seeds transported us into a disturbing world with their song about the night that Elvis was born. Elvis was a twin but his brother was still-born. The song is TUPELO from the album THE FIRSTBORN IS DEAD. Here’s the totally mesmerising clip:
John Fogarty likens Elvis to the BIG TRAIN (FROM MEMPHIS). Neil Young reminded us that it’s “better to burn out than to fade away “, with his song MY, MY, HEY HEY.
Another of my faves followed: Cowboy Junkies with BLUE MOON REVISITED, otherwise known as SONG FOR ELVIS. And then it was Paul Simon’s song about travelling to Elvis Presley’s home, GRACELAND, with the Everly Brothers helping out on vocals. Don’t have a clip with the Everlys in it, but you can’t do much better than this concert performance of the song in Zimbabwe. Enjoy.
There was time for a little more mjusic dedicated to Elvis before signing off and what better than ELVIS HAS JUST LEFT THE BUILDING by the one and only Frank Zappa. And, of course, I had to play some of the King himself so we went out with BURNIN’ LOVE. Here’s what all the fuss is about:
Next week’s show will be dedicated to the patron saint of Theme Park, Roy Orbison, who died 21 years ago this December 6. So songs by Roy Orbison, The Travelling Wilburys, duets with Roy and covers of Roy Orbison songs. Anything connected to Roy Orbison qualifies. Personally I can’t wait!
Here’s this week’s playlist:
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 exceptional 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.
John 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 the 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.
A 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 then 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 (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