Archive for the ‘THE CLASH of Cover Tunes’ Category

The Temptations: “Get Ready”

Posted: March 23, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Get Ready” – The Temptations
THE CLASH of Cover Tunes: Delroy Wilson vs. Giant Sand
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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Broccoli For Miles And Miles And Miles And Miles And Miles ... Oh Yeah!

Broccoli For Miles
And Miles And Miles
And Miles And Miles …
Oh Yeah!

Remember that dance craze called The Duck of the early 60’s, which coincidentally enough was inspired by a song called The Duck? You don’t? Well me neither. But trust me, there was a hit song called The Duck that people apparently were ducking around to in the early 60’s by the droves. Motown execs took notice and enlisted Smokey Robinson to knock out a soulful dance tune, “pronto”, that would be eminently duckable. And so Smokey did just that, writing and producing Get Ready for The Temptations. Released as a single in February 1966, Get Ready was a moderate success enticing spry rug-burners to tune-in to get their duck off. It peaked at number 29 on the U.S. Billboard Hot 100 and hit number one on the Billboard Hot R&B Song chart. The song initially did not do well in the UK; however, in 1969 Get Ready was reissued in the UK and wound up reaching number 10 on the UK pop singles chart.

I found out two interesting facts while researching this song. First of all, while I was aware that Rare Earth had covered Get Ready, I had no idea just how successful their version turned out to be. In 1969, Rare Earth released a rendition of Get Ready on their first album of the same title.  The album version of Get Ready was a 21-minute extravaganza, encompassing the entire second side of the lp. An edited version of the song, pared down to around 3-minutes, was released as a single. Rare Earth’s Get Ready outperformed The Temptations’ version, reaching number 4 on the Billboard Hot 100 chart. It sold in excess of a million US copies, earning a Gold certification from the RIAA.

Oh, and second thing I learned? In 1969, Rare Earth became the first band signed to Motown’s new rock subsidiary, Rare Earth Records. Again, what are the odds of such coincidences…

 

The Original

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The Temptations:

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More Popular (NOT Better, Mind You, Just More Popular)

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Rare Earth:

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THE CLASH of Cover Tunes

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Delroy Wilson vs. Giant Sand

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Delroy Wilson:

Giant Sand:

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

The Beatles: “We Can Work It Out”

Posted: March 20, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “We Can Work It Out” – The Beatles
THE CLASH of Cover Tunes: Jorge Luis Rojas (aka “Rojitas”) vs. John Wicks & The Records
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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Broccoli Fields Forever ...

Broccoli Fields Forever …

We Can Work It Out was recorded during the Rubber Soul sessions and released in December 1965 on the ground-breaking first ever “double A-sided” single. Apparently Paul wanted We Can Work It Out to be the A-side of a single with Day Tripper as the B-side. Shockingly, John disagreed, preferring the opposite (i.e. Day Tripper on A-side and We Can Work It Out on the B-side). Ah, but necessity is the mother of invention. And just like that the ingenious double A-Sided single was born. The first album We Can Work It Out appeared on was Yesterday And Today, which was released in June 1966 to the American market only.

We Can Work It Out was a collaboration of lyrics and music between McCartney and Lennon, which after their hits of 1963 had become an exceedingly rare occurrence (A Day In The Life was another brilliant example). Generally speaking, the more optimistic parts of We Can Work It Out were McCartney’s creation while the darker, impatient parts were Lennon’s contribution.

We Can Work It Out was wildly successful reaching number one on both the U.S. Billboard Hot 100 and U.K. Singles Chart. We Can Work It Out also holds the distinction of having spawned the most commercially successful cover of a Beatles song when Stevie Wonder’s version reached number 13 on the Billboard Hot 100 and earned Mr. Wonder a Grammy Award nomination in 1972, for Best Male R&B Vocal Performance.

The Original

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The Beatles:

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Hey, That’s One Successful Cover!

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Stevie Wonder:

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THE CLASH of Cover Tunes

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Jorge Luis Rojas (aka “Rojitas”) vs. John Wicks & The Records

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Jorge Luis Rojas (aka “Rojitas”):

John Wicks & The Records:

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

Sam Cooke: “A Change Is Gonna Come”

Posted: March 19, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “A Change Is Gonna Come” – Sam Cooke
THE CLASH of Cover Tunes: Billy Bragg vs. Mike Farris & The Roseland Rhythm Revue
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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Sam Cooke wrote A Change Is Gonna Come in December 1963. Cooke’s previous work had been in gospel music and, later, soulful pop songs that were sentimental and, at times, satirical in nature. A Change Is Gonna Come was markedly different from anything Cooke had ever composed before. The song is defiant in nature, emphatic that a change for long-suffering African Americans “is gonna come”. Cooke wrote A Change Is Gonna Come in response to an ugly incident he endured in October 1963. Cooke and his band were touring the south and had reservations at a Holiday Inn in Shreveport, Louisiana. When they arrived they were told that no rooms were available; it was obvious that the hotel had rooms available but was a whites-only establishment, which was the real reason Cooke’s reservations would not be honored. Cooke was furious and let the manager know it. When Cooke drove off in search of another hotel, a police car followed and arrested him for disturbing the peace. Not surprisingly he was traumatized by the overtly racist treatment. Another inspiration in Cooke writing such a blunt song about racial inequality was his admiration for Bob Dylan’s masterpiece, Blowin’ In The Wind, which was released in August 1963. Cooke was captivated by the song’s frank admonishment of racism and was said to be a bit ashamed that a white man was speaking out for the black community while he had yet to make any statement at all. Indeed, Cooke told his producer, J.W. Alexander, that he hoped A Change Is Gonna Come would make his father proud. 

Everybody's Dressin' Funny ... Cover Me Impressed!

Everybody’s Dressin’ Funny …
Cover Me Impressed!

Sam Cooke debuted A Change Is Gonna Come on The Tonight Show With Johnny Carson on February 7, 1964. It would be the only time he ever performed the song. The musical accompaniment was complex and its essence foreboding and somewhat frightening. After hearing it on The Tonight Show, Cooke’s friend and protege, Bobby Womack, told him that the song sounded “like death.” Cooke responded, “Man, that’s kind of how it sounds like to me. That’s why I’m never going to play it in public.” Womack clarified his thoughts, that it wasn’t deathly, but rather “spooky,” but Cooke never performed the song again.

A Change Is Gonna Come was released on December 22, 1964. Tragically, under circumstances that to this day are still mysterious, Sam Cooke had been shot and killed on December 11, 1964, at the Hacienda Motel in Los Angeles, California. He was but 33 years of age at the time.

Though only a moderate success in terms of sales, A Change Is Gonna Come is widely recognized as Sam Cooke’s seminal work. Not surprisingly the song became a staple for the country’s rising civil rights movement.

The Original

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Sam Cooke:

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THE CLASH of Cover Tunes

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Billy Bragg vs. Mike Farris

I suppose it’s “been a long time coming” but this is a momentous first on Cover Me Impressed. Two Melodious Maximi squaring off against each other!!! May the Best Maximus Win…

Billy Bragg:

Billy Bragg is a recipient of CMI’s universally coveted title of Bi Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold orange!

Billy Bragg’s triumphal exploits in CMI’s THE CLASH of Cover Tunes competitions are detailed below:

12/26/2014 – “Fairytale of New York” (The Pogues) – Billy Bragg with Florence + the Machine (75%) thump Third Eye Blind (25%)

11/18/2013 – “Which Side Are You On?” (Almanac Singers) – Billy Bragg (57%) bests Dropkick Murphys (43%)

Mike Farris:

Mike Farris is a recipient of CMI’s universally coveted title of Uni Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold gold!

Mike Farris’ triumph in CMI’s THE CLASH of Cover Tunes competition is detailed below:

1/11/2014 – “Will the Circle Be Unbroken” (The Carter Family) – Mike Farris & The Roseland Rhythm Revue featuring the McCrary Sisters (86%) humiliate Ken Parker (14%)

I eschewed Farris’ studio version of A Change Is Gonna Come for this stompin’ live rendition with The Roseland Rhythm Revue:

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

ABBA: “Dancing Queen”

Posted: March 18, 2015 in Reigning Pooh-Bah Maximus of Cover Tune, THE CLASH of Cover Tunes
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Tune du Jour: “Dancing Queen” – ABBA
THE CLASH of Cover Tunes: Milo Binder vs. Glow
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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And In My Hour of Need, I Truly Am Indeed, Alone Again, Broccoli ...

And In My Hour of Need,
I Truly Am Indeed,
Alone Again, Broccoli …

Dancing Queen was released by ABBA in August 1976. It is commonly referred to as one of the most successful singles of the 1970s. Dancing Queen became a massive worldwide hit, topping the charts in more than a dozen countries including ABBA’s native Sweden (where it spent 14 weeks at the top), Australia, Belgium, Brazil, West Germany, the United Kingdom, Ireland, Mexico,the Netherlands, New Zealand, Norway (where it charted for 32 weeks), making it the 11th best-performing single of all time in that country), South Africa and Rhodesia. Dancing Queen also topped the charts in the United States, ABBA’s only #1 on the Billboard Hot 100 and was a Top 5 hit in Austria, Canada, Finland, France and Switzerland. The song sold over three million copies. And yet, it is still remarkably atrocious. Or, to put it more technically, it is unequivocally an “auditive malady”.

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The Original

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ABBA:

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THE CLASH of Cover Tunes

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As alluded to above, despite the substantial acclaim achieved and accolades bestowed upon it, this is truly an abysmal song, the quintessential auditive malady. The 1970s probably produced the worst body of music in the last century and very possibly the entire history of the planet. And Dancing Queen certainly is exemplary in epitomizing all that was wrong with the 70s music scene; perfectly straight pearly white teeth centering witless, blissful, smiley faced “musicians” donning polyester, pastel leisure suits while assaulting the listening public with insipid lyrics that convey vapid bubble-gum bromides, which were required for the era’s pretentious dance gyrations and subsequent vacuous mating rituals. Songs of this era are easily mocked and lampooned.

Yet, despite covering a dead-weight anchor of a song, the offerings below are quite frankly brilliant, in that they manage to make this disaster (aka Dancing Queen)  actually enjoyable and, particularly in the case of Milo Binder, sound poignant! Skeptical, are you? Well, bang on …

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Milo Binder vs. Glow
Milo Binder:

Milo Binder holds the distinction of being CMI’s Reigning Exultant Virtuosic Performer of Dancing Queen. Additionally, Milo Binder is a recipient of CMI’s universally coveted title of Uni Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold yellow!

Milo Binder’s triumph in CMI’s THE CLASH of Cover Tunes competition is detailed below:

1/3/2014 – “Dancing Queen” (ABBA) – Milo Binder  (84%) thumps Robbie Fulks (16%)

Glow:

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

Mark James / B. J. Thomas: “Hooked On A Feeling”

Posted: March 17, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Hooked On A Feeling” – B.J. Thomas
THE CLASH of Cover Tunes: The Slugs vs. Trudbol
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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I'm Hooked On The Ceiling I'm High On Believing That You're In Love With Me

I’m Hooked On The Ceiling
I’m High On Believing
That You’re In Love With Me

Hooked On A Feeling was written by Mark James and released in 1968 by B.J. Thomas. As we all know, Thomas’ version is best know for including an electric sitar. 1969 was obviously ripe for a pop song featuring an electric sitar as it was in that year Thomas’ Hooked On A Feeling charted number 5 on the Billboard Hot 100. Musical scholars have long differed on the reason the electric sitar was ready to take the States by storm. RDubbs has long posited that it dates back to Tug McGraw’s alcohol-inspired, electric sitar rendition of Luck Be A Lady on Kiner’s Korner immediately following one of the New York Mets’ many seemingly implausible victories down the stretch of the miraculous ’69 baseball season. (Oh, if the Tugger’s musical talents had only been passed on to his unfortunate son…). 

In 1971, the now famous Jonathan King released his own version of Hooked On A Feeling. Desiring “a reggae rhythm by male voices” – whatever the heck that means – King added the signature hooga chaka chants to the song (because nothing embodies “a reggae rhythm by male voices” like a couple of pasty white Brits chanting hooga chaka).

And that my friends brings us to Blue Swede, who in fact were not blue but were apparently from Sweden. Released in 1974, the Swede’s cover of Hooked On A Feeling, which retained the now beloved reggae rhythm of male voices chants, reached number 1 on the Billboard Hot 100. However, Swede did commit the unforgivable sin of  stripping out from the original lyrics some minor references to drug use, replacing it with some pathetic, bubble-gum, tripe-inspired chorus. Yet, even so, many years later they were bestowed the ultimate honor of having their version of Hooked On A Feeling included in the soundtrack of Quentin Tarantino’s phenomenal 1992 first film Reservoir Dogs.

The Original

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B.J. Thomas:

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The “Turning Point”

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Jonathan King:

First known successful infusion of “reggae rhythm by male voices” into modern-day music!

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The Most Popular

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Blue Swede:

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THE CLASH of Cover Tunes

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The Slugs vs. Trudbol

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The Slugs:

Trudbol:

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

Fleetwood Mac: “Go Your Own Way”

Posted: March 13, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Go Your Own Way” – Fleetwood Mac
THE CLASH of Cover Tunes: NOFX vs. Schlong
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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Everybody's Dressin' Funny ... Cover Me Impressed!

Everybody’s Dressin’ Funny …
Cover Me Impressed!

Go Your Own Way was released in 1977 on Fleetwood Mac’s album, Rumours. Lindsey Buckingham and Stevie Nicks had been bickering big-time, growing ever tired of each other and not much caring to hide it any longer. Hence the “genius” of the song. Go Your Own Way was an instant hit, rising to number ten on the Billboard Hot 100 chart, making it the band’s first top-ten hit. It has endured as one of Fleetwood Mac’s most popular songs. Go Your Own Way ranked number 120 on Rolling Stone’s list of the 500 Greatest Songs of All Time and is on the Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll list. 

I do not care for this song at all, which is not surprising considering I do not care for Fleetwood Mac at all. However, Go Your Own Way does make for some great punk, cover fodder.

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The Original

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Fleetwood Mac:

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THE CLASH of Cover Tunes

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NOFX vs. Schlong

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NOFX:

Schlong:

Schlong is a recipient of CMI’s universally coveted title of Uni Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold yellow!

Schlong’s triumph in CMI’s THE CLASH of Cover Tunes competition is detailed below:

1/13/2014 – “America” (West Side Story) – Schlong (64%) dispose of The Nice (36%)

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

Dennis Linde / Arthur Alexander: “Burning Love”

Posted: March 12, 2015 in Reigning Pooh-Bah Maximus of Cover Tune, THE CLASH of Cover Tunes
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Tune du Jour: “Burning Love” – Elvis Presley
THE CLASH of Cover Tunes: Kingsized vs. The Residents
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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Why Can't You See, I'm Just A Stalk of Broccoli Incapable of Cheatin' On You, Baby...

Why Can’t You See,
I’m Just A Stalk of Broccoli,
Incapable of Cheatin’ On You, Baby…

Burning Love was written by Dennis Linde and first released by Arthur Alexander in 1972. Alexander’s version failed to make many waves. A few months later, Elvis Presley released his killer cover of Burning Love, which quickly rose to #2 on the Billboard Hot 100. Chuck Berry’s My Ding-A-Ling kept Burning Love from reaching #1, thereby proving that the early 70’s just might have been the horniest period in American history. But that’s fodder for another post on a different day.

Burning Love was Elvis’ 40th and last Top Ten hit on the US charts. But if this was going to be his final real rocker then at least he left one of the best for last. I mean, c’mon, how many artists could throw down the line “I’m just a hunk-a, hunk-a burnin’ love” and pull it off with aplomb? Let’s just say you could maybe count them up on one hand after a major industrial accident, if you know what I mean…and I think you do!

The brilliance of Burnin’ Love is that it manages to meld rock with gospel, all the while soaked with raw, passionate desire. As Steve Huey of AllMusic aptly puts it:

“Presley gives a supremely passionate performance that rivals his most incendiary ’50s work. The lyrics never depart from the theme of smoldering passion, but the chorus — “Your kisses lift me higher/Like the sweet song of a choir” (which happens to be backing Presley’s vocals) — imparts a gospel-ish transcendence that elevates earthly love into a spiritual experience. There are several occasions where Presley allows the music to carry him away, humming and moaning to keep the feeling going in between lyrics. Yet, while he’s larger than life, he’s never over the top — when you’ve reclaimed your title as the King of rock & roll, there’s nothing to prove, and Presley’s cool (but not complacent) assurance keeps things grounded amidst all the storm and fire. Drummer Ronnie Tutt straddles the two sensibilities well; he knows when to lay back and let the beat swing, but also when to drive the song with explosive bursts in between the vocals, and proves a major supporting player.”

A few tidbits, which may very well be true:

Writer of the song, Dennis Linde, kicks out the opening guitar jam as well as a few other licks throughout Presley’s version of Burning’ Love.

Bruce Springsteen consistently covered the song in his live shows of the late 90’s and early 2000’s.

Burning Love was used as the wake-up song on the 2008 space shuttle mission STS-123.

The Simpsons’ paid homage to the song, titling a 2001 episode “A-Hunka-Hunka Burns in Love“.

Perhaps the single greatest performance of the song was RDubbs‘ legendary and much-revered throw-down a decade or two ago at a Star Bar karaoke night.

 

The Original

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Arthur Alexander:

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The Most Popular

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Elvis Presley:

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THE CLASH of Cover Tunes

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Kingsized vs. The Residents

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Kingsized:

Kingsized holds the distinction of being CMI’s Reigning Exultant Virtuosic Performer of “Burning Love”. Additionally, Kingsized is a recipient of CMI’s universally coveted title of Tri Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold green!

Kingsized’s triumphal exploits in CMI’s THE CLASH of Cover Tunes competitions are detailed below:

11/26/2013 – THE CLASH of the Mini Medleys: Tongo Hiti (75%) – “My Heart Will Go On” (Celine Dion); “Rebel Yell” (Billy Idol); and some God-awful Metalica song (Metalica) vanguish Tiny Tim & The New Duncan Imperials (25%) – “Tennessee Waltz” (Cowboy Copas); “Back in the Saddle” (Gene Autry); and “Your Cheatin’ Heart” (Hank Williams)

11/11/2013 – “Burning Love” (Arthur Alexander) – Kingsized (100%) obliterate Swing Cats (0%)

11/2/2013 – “Pinball Wizard” (The Who) – Mike Geier & the Reverend Horton Heat (88%) trounce Sandy Nelson (12%)

The Residents:

Okay, this one was included solely for the video. Stuff like this just kills me.

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

Television: “Marquee Moon”

Posted: March 11, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Marquee Moon” – Television
THE CLASH of Cover Tunes: Army of Halfwits vs. Nutley Brass
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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"Free markets will not prevail without unfettered competition among cover songs." - Milton Friedbyrd

“Free markets will not prevail without unfettered competition among cover songs.” – Milton Friedbyrd

Marquee Moon appeared on Television‘s first album, which coincidentally enough was also named Marquee Moon. Television was one of the earliest contributors to the new wave genre of the early to mid-70s. They were the first great band to emerge from New York’s infamous venue, CBGB. In fact, according to Mark Deming of AllMusic, they literally built the stage at CBGB. Released in 1977, Marquee Moon had been a staple of the band’s early live shows, becoming more complex and challenging over time. Richard Hell supposedly left the band because the song eventually became too difficult for him to play. Again quoting Mark Deming: “The original studio version is one of the great guitar moments in rock history (Verlaine’s final solo is nothing short of sublime), and Television’s live renditions of the tune (preserved today on a handful of bootlegs and the semi-authorized live document The Blow Up) are, if anything, even more impressive.”

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The Original

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Television:

THE CLASH of Cover Tunes

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Army of Halfwits vs. Nutley Brass

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Army of Halfwits:

(Points scored right off the bat for the band’s name.)

Nutley Brass:

Who doesn’t love a brass band?

Nutley Brass is a recipient of CMI’s universally coveted title of Uni Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold yellow!

Nutley Brass’ triumph in CMI’s THE CLASH of Cover Tunes competition is detailed below:

1/19/2014 – “Rock ‘n’ Roll High School” (Ramones) – Nutley Brass (100%) annihilates Boris the Sprinkler (0%)

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

The Temptations: “Just My Imagination”

Posted: March 9, 2015 in Reigning Pooh-Bah Maximus of Cover Tune, THE CLASH of Cover Tunes
Tags:
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Tune du Jour: “Just My Imagination” – The Tempatations
THE CLASH of Cover Tunes: Ted Hawkins vs. The Rolling Stones
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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I Shouted Out, "Who Ate The Broccoli?", When After All, It Was You And Me...

I Shouted Out, “Who Ate The Broccoli?”, When After All, It Was You And Me…

Perhaps The Temptations seminal work, Just My Imagination, was released in 1971 on the album Sky’s The Limit. The single was number one on the Billboard Hot 100 chart for two weeks and number one on the Billboard R&B chart for three weeks. The song ended up being The Temptations’ original members’ last number one hit. Afterwards Eddie Kendricks left the band to pursue a solo career and Paul Williams was forced to retire for health reasons. In 2004, Rolling Stone magazine listed Just My Imagination as number 389 on its list of the 500 Greatest Songs of All Time.

The Original

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The Temptations:

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THE CLASH of Cover Tunes

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Ted Hawkins vs. The Rolling Stones

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Ted Hawkins:

Ted Hawkins is a recipient of CMI’s universally coveted title of Uni Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold gold!

Ted Hawkins‘ triumph in CMI’s THE CLASH of Cover Tunes competition is detailed below:

1/20/2014 – “The 59th St. Bridge Song (Feelin’ Groovy)” (Simon & Garfunkel) – Ted Hawkins (67%) prevails over The Coolies (33%)

The Rolling Stones:

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

Huey “Piano” Smith & His Clowns: “Sea Cruise”

Posted: March 4, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Sea Cruise” – Frankie Ford with Huey “Piano” Smith & His Clowns
THE CLASH of Cover Tunes: Rico vs. Yo La Tengo
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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You Broke My Will, Oh What A Thrill, Goodness Gracious Great Balls Of Broccoli!

You Broke My Will, Oh What A Thrill, Goodness Gracious Great Balls Of Broccoli!

A real confusing history to this song. Sea Cruise was composed by Huey “Piano” Smith. It was first recorded by Huey “Piano” Smith & His Clowns at Johnny Vincent’s Ace Records in 1959. The lead singer on the original recording was Bobby Marchan. Vincent loved the music but, for reasons that are not entirely clear, decided to ax Marchan from the recording. It may have been that Vincent felt the vocals could be improved upon. It may have been for racial reasons (Marchan was black). Or it may have simply been that Vincent disliked Marchan on a personal level, which is the reason most in the industry seem to believe. Whatever the reason, enter 19 year-old, up-and-coming vocalist Frankie Ford. Vincent cut Marchan’s singing from the recording, added some nautical sounds and over dubbed Frankie Ford on vocals. Sea Cruise, with Frankie Ford on vocals, quickly became a huge success, reaching No. 14 on the US Charts.

Frankie Ford had changed some of the lyrics slightly so he could get songwriter credit. Ultimately, Huey Smith received little-to-no royalties on the song he wrote and composed. In 1971, twelve years after Frankie Ford’s version, the original version of Sea Cruise with Bobby Marchan on vocals was finally released.

The Original Recording

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Huey “Piano” Smith & His Clowns featuring Bobby Marchan on Vocals:

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The First Released Recording

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Frankie Ford with Huey “Piano” Smith & His Clowns:

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THE CLASH of Cover Tunes

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Rico vs. Yo La Tengo

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Rico:

Yo La Tengo:

Yo La Tengo is a recipient of CMI’s universally coveted title of Uni Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in bold yellow!

Yo La Tengo’s triumph in CMI’s THE CLASH of Cover Tunes competition is detailed below:

10/1/2013 – “Somebody’s Baby” (Jackson Browne) – Yo La Tengo (90%) annihilate The Gamits (10%)

Beginning in 1996, Yo La Tengo supported the fundraising efforts of New York’s world-renowned independent radio outlet, WFMU, with annual studio visits. All listeners who pledged money during the band’s appearances were offered the chance to request a favorite song that Yo La Tengo would then attempt to perform; no rehearsals, no advance word of what the requests might be, just plug it in and kick it out. The spontaneous element is impressive and, at times, hysterical.

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Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to three months from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

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