Archive for the ‘THE CLASH of Cover Tunes’ Category

Bob Dylan: “Girl From The North Country”

Posted: March 3, 2015 in Reigning Pooh-Bah Maximus of Cover Tune, THE CLASH of Cover Tunes
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Tune du Jour: “Girl From the North Country” – Bob Dylan
THE CLASH of Cover Tunes: Eels vs. The Waterboys
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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You used to be so amused, At Broccoli Man and the carrot for a guitar he used ...

You used to be so amused, At Broccoli Man and the carrot for a guitar he used …

Girl From the North Country was released in 1963 on Bob Dylan’s second album The Freewheelin’ Bob Dylan. Dylan wrote the song after his first visit to England. During his stay, Dylan became friendly with an English folk singer by the name of Martin Carthy. Carthy introduced to Dylan a number of English traditional folk songs including his own arrangement of Scarborough Fair, a ballad that dates back to Medieval times. Dylan composed Girl From The North Country in the spirit and cadence of an old English folk song, going so far as to clip a line straight from Scarborough Fair: “For she was once a true love of mine”. A few years later Paul Simon would steal much more than a line, he pilfered Carthy’s whole arrangement! But that’s another story … and not a very pleasant one at that.

Girl From the North County is an infectious ballad of a man’s love who has moved on and away. Much speculation revolves around which of three former girlfriends inspired Dylan to pen the song. But in fact, it was written about me. Although only two at the time I had a major impact on Dylan, assuring and providing him with much needed confidence and direction. Embarrassed by his adoration of a two year-old, Bob chose to mask my identity by writing of a girl who moved abroad.

Though never a hit, Girl From the North Country has become one of Dylan’s more enduring songs. Dylan often performs it in concerts – including his 30th Anniversary Concert Extravaganza (or as Neil Young dubbed it, “Bobfest”) – and it has been recorded by over 50 musicians.

The Freewheelin’ Bob Dylan

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Nashville Country: Bob Dylan & Johnny Cash

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In 1969 Dylan re-released Girl From the North Country on his album Nashville Skyline, this time singing the song as a duet with Johnny Cash. Bob had previously quit smoking and his voice sounded better than it had in years. But it’s anyone’s guess as to how much rehearsing the two did prior to recording. Exchanging verses, Bob kicks off the song with its first verse but when Johnny’s turn comes up he goes right into the third verse. Without missing a beat Bob follows with the second verse. And when they combine to sing there’s clearly confusion on where to go from there. It’s debatable whether the fourth verse gets sung at all as Bob and Johnny differ on a line or two, kind of melding the fourth and final verses together. But other than that it’s great. Actually, no kidding, it is great.

THE CLASH of Cover Tunes

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Eels vs. The Waterboys
Eels:

The Waterboys:

The Waterboys hold the distinction of being CMI’s Reigning Exultant Virtuosic Performer of “Girl From the North Country”. Additionally, The Waterboys are recipients 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! The Waterboys‘ triumph in CMI’s THE CLASH of Cover Tunes competition is detailed below:

10/23/2013 – “Girl From the North Country” (Bob Dylan) – The Waterboys (71%) thump Eddie Vedder (29%)

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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.

U2: “I Still Haven’t Found What I’m Looking For”

Posted: March 2, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “I Still Haven’t Found What I’m Looking For” – U2
THE CLASH of Cover Tunes: Coco Freeman and Rhythms del Mundo with U2
vs. The Persuasions
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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I Still Haven’t Found What I’m Looking For was released in 1987 on U2’s fifth album The Joshua Tree. It debuted at number 51 on the US Billboard Hot 100. After nearly 2 months on the chart, the song reached number one and stayed there for two weeks; it remained on the chart for 17 weeks. I Still Haven’t Found What I’m Looking For peaked at number 6 on the UK Singles Chart.

So Where Are the Strong, And Who Are the Trusted, And Where is the Broccoli, Sweet Broccoli!

So Where Are the Strong, And Who Are the Trusted, And Where is the Broccoli, Sweet Broccoli!

In 1988, I Still Haven’t Found What I’m Looking For received two nominations for a Grammy Award, for Record of the Year and Song of the Year. (Extra credit if you can tell me what the difference is…on second thought don’t bother, I’m actually not very interested.)

In 2001 I Still Haven’t Found What I’m Looking For was ranked number 120 on the RIAA’s list of 365 Songs of the Century, a project intended to “promote a better understanding of America’s musical and cultural heritage”. (Apparently RIAA did not get the memo that U2 is, in fact, an Irish band.) In 2003, a special edition issue of Q, titled 1001 Best Songs Ever, placed I Still Haven’t Found What I’m Looking For at number 148 on its list of greatest songs. In 2005, Blender ranked the song at number 443 on its list of The 500 Greatest Songs Since You Were Born. In 2010, Rolling Stone magazine placed the song at number 93 of its list of The 500 Greatest Songs of All Time. And finally, the staff of the Rock and Roll Hall of Fame selected I Still Haven’t Found What I’m Looking For as one of the 500 Songs that Shaped Rock and Roll.

(Just about all of the above was extracted from Wikipedia, at least whatever is accurate.)

The Original

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U2:

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And Now For Something Completely Different

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I had to include this classic simply because I had to. Interesting, Bizarre, Irreverent (But Most of All, Good, Somewhat Clean, Fun!). Stick with it and you will be rewarded immensely…

Negativland:

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THE CLASH of Cover Tunes

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Coco Freeman & Rhythms del Mundo with U2 vs. The Persuasions

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Coco Freeman & Rhythms del Mundo with U2:

Normally the inclusion of the original band would be a disqualifier for competition. But they must have had Bono tied-up in the back because U2 seems to have stayed way in the background for this cover.

The Persuasions:

The Persuasions are recipients 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!

The Persuasions‘ triumph in CMI’s THE CLASH of Cover Tunes competitions is detailed below:

11/12/2013 – “Slip Slidin’ Away” (Paul Simon) – The Persuasions (57%) triumph over the Avett Brothers (43%)

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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 Specials: “Ghost Town”

Posted: February 27, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Ghost Town” – The Specials
THE CLASH of Cover Tunes: Desorden Publico vs. Elvis Costello and The Roots
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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1981 and England could not look more bleak. Excessive inflation, spiraling unemployment, urban decay, racial tension, Margaret Thatcher, endless recession, distrust of the police, disdain for the government and a pervasive all-encompassing perception of despair, especially among the youth.

"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

It was behind this backdrop that The Specials released the single Ghost Town. England had been suffering through an economic plunge for quite some time. During their 1980 tour of the UK, The Specials witnessed cities with endless streets of boarded-up former businesses, people on street corners selling household wares for food and a growing frequency of racially motivated fights on the dance floor.

As Jo-Ann Greene of AllMusic put it, “No song better captured the mood of the day than this June, 1981 single…The image it offers is one of pure desolation and utter barrenness, the empty streets whipped by deadly breezes, while ghostly images momentarily shimmer brightly, cruel reminders of happier days before the holocaust struck.”

Ghost Town rose quickly to number one of the UK Singles Chart and remained there for three weeks.  It spent a total of ten weeks in the Top 40. Ghost Town was named “Single of the Year” in Melody Maker, NME and Sounds, the UK’s top three weekly music magazines at the time. AllMusic’s review of the original single argued that the song was the band’s “crowning achievement”.

Ghost Town also served as somewhat of a harbinger of doom. In April 1981 the Brixton district of London erupted into two days of serious rioting with reports suggesting that up to 5,000 people were involved. Beginning in July 1981, while Ghost Town was at or near the top of the charts, major riots broke out in over 35 locations around the UK.

Ghost Town was also the last recording that The Specials would produce. During their 1980 tour, tensions ran high among members of the band. Soon after releasing Ghost Town, as cities across the UK burned, The Specials likewise disintegrated.

The Original

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The Specials:

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THE CLASH of Cover Tunes

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Desorden Publico vs. Elvis Costello & The Roots with La Marisoul

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Desorden Publico:

Pueblo Fantasma (Ghost Town):

Elvis Costello & The Roots with La Marisoul:

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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.

Sex Pistols: “Anarchy in the U.K.”

Posted: February 25, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Anarchy in the U.K.” – Sex Pistols
THE CLASH of Cover Tunes: Barnyard Fury vs. Skandalous All-Stars
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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Everybody's Dressin' Funny ... Cover Me Impressed!

I Am An Antichrist! I Am A Broccoli Head!

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Ah, those were the days! When Mohawks, earrings, Dr. Martens and mosh pits were the domain of crazed, disenfranchised, young social deviants. Just how the Young-Republican suburbanite set managed to expropriate that phenomena I’ll never know. Although, sooner or later that crowd always plunders whatever it can from the commonality. But I digress…

Anarchy in the U.K. was the Sex Pistols debut single, released on November 26, 1976. It later appeared on the Sex Pistols first and, for all intent and purposes, only album Never Mind the Bollocks Here’s the Sex Pistols. Anarchy in the U.K. reached number 38 on the UK Singles Chart before their record label, EMI, pulled the record and dropped the band for its lewd behavior and notorious exploits. Reflecting on the record company’s decision, lead singer Johnny Rotten delivered this classic quote: “I don’t understand it. All we’re trying to do is destroy everything.”

In 2004 Rolling Stone Magazine named Anarchy in the U.K. number 56 on its list of the 500 Greatest Songs of all Time. According to Rolling Stone, “This is what the beginning of a revolution sounds like: an explosion of punk-rock guitar noise and Johnny Rotten’s evil cackle.” 

The Original

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Sex Pistols:

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THE CLASH of Cover Tunes

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Barnyard Fury vs. Skandalous All-Stars

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Barnyard Fury:

Barnyard Fury 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!

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

11/5/2013 – “I Just Dropped In To See What Condition My Condition Was In” (Kenny Rogers & The First Edition) – Barnyard Fury (86%) pummel Mojo Nixon & The Second Edition (14%)

Skandalous All-Stars:

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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 Replacements: “Swingin’ Party”

Posted: February 24, 2015 in Reigning Pooh-Bah Maximus of Cover Tune, THE CLASH of Cover Tunes
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Tune du Jour: “Swingin’ Party” – The Replacements
THE CLASH of Cover Tunes: Bright Little Field vs. Lorde
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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Everybody's Dressin' Funny ... Cover Me Impressed!

Let Me Be Your Ruler, Ruler, You Can Eat My Broccoli, And Baby I’ll Rule, Let Me Live That Fantasy…

As the Academy Awards’ after-parties emphatically confirmed, the most discussed and heatedly debated topic in today’s entertainment industry has got to be, ‘When Will Lorde Debut on Cover Me Impressed?’. Well, my uber-connected friends, I’m afraid you’ll have to conjure up new fodder to ponder over cocktails. Today, Lorde takes the plunge, setting her sights on Bright Little Field’s reigning cover of The Replacements’ Swingin’ Party.

So what took so long for Lorde’s much anticipated entree to CMI? Well it would have come sooner but I got detained. (Sorry, forgot to take out the trash…ba-dum-bum!).

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The Original

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The Replacements:

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THE CLASH of Cover Tunes

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Bright Little Field vs. Lorde
Bright Little Field:

Bright Little Field holds the distinction of being CMI’s Reigning Exultant Virtuosic Performer of “Swingin’ Party”. Additionally, Bright Little Field 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!

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

1/9/2014 – “Treatment Bound” (The Replacements) – Bright Little Field (100%) shellack Asylum Street Spankers (0%)

10/16/2013 – “Swingin’ Party” (The Replacements) – Bright Little Field (75%) wallop Popland (25%)

And, as if the aforementioned accolades are not enough, Bright Little Field also holds the distinction of being the only ukulele band to do a tribute album to The Replacements!!!

Lorde:

The young upstart’s sullen interpretation:

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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.

Curtis Mayfield: “We People Who Are Darker Than Blue”

Posted: February 23, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “We People Who Are Darker Than Blue” – Curtis Mayfield
THE CLASH of Cover Tunes: Lloyd Chalmers vs. Sinead O’Connor
Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)
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So Where Are the Strong, And Who Are the Trusted, And Where is the Broccoli, Sweet Broccoli!

So Where Are the Strong, And Who Are the Trusted, And Where is the Broccoli, Sweet Broccoli!

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I have to admit, before this weekend I had never heard this song, We People Who Are Darker Than Blue. I was taking in some reggae covers when I heard Lloyd Chalmer’s rendition. I looked up Curtis Mayfield’s original version and discovered one outstanding song! Sheesh, where have I been?!!?

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The Original

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Curtis Mayfield:

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And an excellent live version:

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THE CLASH of Cover Tunes

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Lloyd Chalmers vs. Sinead O’Connor

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Lloyd Chalmers:

Sinead O’Connor:

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 Jam: “Town Called Malice”

Posted: February 20, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Town Called Malice” – The Jam
THE CLASH of Cover Tunes: The Adjusters vs. Okano Kaori
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!

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Homage or Theft? Paul Weller’s love affair with old school Rhythm & Blues, Soul and Motown have been on display throughout his career, possibly never more than on The Jam’s rollicking, catchy number, Town Called Malice. The song kicks off with the classic bass line that Motown’s legendary session artist, James Jamerson, composed for You Can’t Hurry Love and maintains a similar melding of soul and pop that the great songs from  the golden age of Motown pulled off so well.

Town Called Malice appeared on The Jam’s sixth album, The Gift. Released as a single in January 1982, Town Called Malice entered the chart at number one on the British music charts and remained there for three weeks. It was the Jam’s third number-one single in the UK and the band’s sole entry onto any American chart hitting No. 31 on Mainstream Rock Tracks.

The Original

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The Jam:

THE CLASH of Cover Tunes

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The Adjusters vs. Okano Kaori

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The Adjusters:

Okano Kaori:

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.

Bob Dylan: “Forever Young”

Posted: February 18, 2015 in Reigning Pooh-Bah Maximus of Cover Tune, THE CLASH of Cover Tunes
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Tune du Jour: “Forever Young” – Bob Dylan
THE CLASH of Cover Tunes: Neil Young & the Grateful Dead vs. Soweto Gospel Choir
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

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Forever Young is one of Bob Dylan’s most beautiful songs. The song expresses Dylan’s hopes and dreams for his children as they progress through childhood. Forever Young is a frequently covered song with the majority of artists attempting in futility to maintain the spiritual poignancy that Dylan achieved.

Forever Young first appeared on Dylan’s album Planet Waves, which was released in 1974. Two versions of the song were included on the album, a slow and fast version. For what it’s worth, I think the slow version is so vastly superior to the fast one that I question why it was even included on the album; the fast version should have been an outtake, packed away for a future rarities release. Forever Young is just one example of the magic Bob Dylan and The Band routinely conjured up. It only solidifies the excellence and expertise of one of the more underrated bands of our time, The Band.

Forever Young is also noteworthy for one of those surreal moments when time just seems to awkwardly stand still. Of course I’m referring to Howard Cosell’s inane recitation of its lyrics when Muhammad Ali outlasted Leon Spinks to win the heavyweight title for an unprecedented third time.

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Planet Waves: Slow Version

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Bob Dylan and The Band:

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Planet Waves: Fast Version

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Bob Dylan and The Band:

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The Last Waltz: Simply Outstanding Live Version

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Bob Dylan and The Band:

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THE CLASH of Cover Tunes

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Soweto Gospel Choir vs. Neil Young & the Grateful Dead
Soweto Gospel Choir:

Neil Young & the Grateful Dead:

Neil Young 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!

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

10/18/2013 – “Just Like Tom Thumb’s Blues” (Bob Dylan) – Neil Young with Booker T & The MGs (100%) throttle Robyn Hitchcock (00%)

9/27/2013 – “Imagine” (John Lennon) – Neil Young (84%) wallops David Bowie (16%)

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 of the original post.

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

Madness: “My Girl”

Posted: February 16, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “My Girl” – Madness
THE CLASH of Cover Tunes: Skanker vs. Tracy Ullman
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 …

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One of my favorites from Madness. My Girl appeared on their first album, One Step Beyond, which became a standard of the British ska revivalist movement. When My Girl was spun- off as a single in December, 1979, it reached Number Three in the U.K. charts

 

The Original

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Madness:

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THE CLASH of Cover Tunes

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Skanker vs. Tracy Ullman

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Skanker:

Tracy Ullman:

Is there anything Tracy Ullman cannot do? Probably, I guess, right?

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.

David Bowie: “Starman”

Posted: February 13, 2015 in THE CLASH of Cover Tunes
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Tune du Jour: “Starman” – David Bowie
THE CLASH of Cover Tunes: Nosferatu vs. May Hart Band
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

Starman was recorded by David Bowie in  February 1972 and released as a single that April. FUN FACT: The song was a late addition to Bowie’s album The Rise and Fall of Ziggy Stardust and the Spiders from Mars at the insistence of RCA’s Dennis Katz, who heard a demo and loved the track, believing it would make a great single. It replaced the Chuck Berry cover Round and Round on the album…Imagine that, axing a cover at the last minute!??! My God what a travesty! Oh the humanity!!!

According to David Thompson of AllMusic: “Starman is arguably the single most influential song in Bowie’s entire catalog. At the time of its release, after all, he was still a one-hit wonder, creaking around the club circuit with a critically acclaimed, but publicly ignored live show, while his Space Oddity signature theme sank ever further back into the mists of time.”

Starman embedded Ziggy Stardust in the nation’s consciousness and established David Bowie as the premier eccentric rock icon of the time. The single reached No. 10  while the album hit No. 5. in the UK charts. Starman remained in the UK charts for 11 weeks. In the US the song peaked at No. 65.

The Original

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David Bowie:

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THE CLASH of Cover Tunes

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Nosferatu vs. May Hart Band

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Nosferatu:

May Hart Band:

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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