Showing posts with label best cover version ever. Show all posts
Showing posts with label best cover version ever. Show all posts

Thursday, 6 March 2025

Louie Louie

 

Cover version of the month #106
The Kingsmen cover Louie Louie by Richard Berry and The Pharaohs

I recently watched the magnificent 24-Hour Party People film for the first time in ages. Steve Coogan is outstanding as Tony Wilson (with a little dash of Partridge) while the formation of Factory Records, development of Joy Division, Ian Curtis' suicide, opening and mismanagement of the Hacienda, reliance/total piss-take on New Order's money and chaos of the Happy Mondays are portrayed with the right levels of honesty, empathy, bemusement and humour.

In the film, local punk fan Jon the Postman regularly gets up at the end of gigs to sing the evergreen garage band anthem Louie Louie, determined to keep the party going and sing his favourite song. Jon would go on to form a band and often guest with others. This led to him appearing with The Fall on Live 1977 album singing a ramshackle version. 

Louie Louie is a song I most definitely heard for the first time in McChuills. It was, and still is, regularly played by Old Nick in the bar. Probably by most DJ's at some point as well!

Covered by well over 1,000 bands/artists, including The Sonics, Iggy Pop, Motorhead and The Clash, I was convinced that the original was by The Kingsmen, as that was the version referenced by the bands and in the numerous articles I had read over the decades. However, it turns out that a guy called Richard Berry wrote and recorded the song with his band The Pharaohs back in 1955.

I'd never heard the original until I started researching the song for this blog. On first listen, I have to admit to finding it pretty uninspiring. I guess I'm used to the rawness of The Kingsmen and The Sonics, while The Pharaohs version is slower and smoother.

But the laid-back groove did grab me on second listen. It is undeniably catchy, allegedly inspired by Latin rhythms, particularly RenĂ© Touzet’s El Loco Cha Cha. Berry crafted a story about a sailor longing for his love while stranded on a foreign shore. 

The story of the song, author, rights, publishing and ownership are quite something! There is a book in there for someone! A few google searches will direct you to some cracking articles.

By the mid-80's Berry was living on welfare and then the drinks company California Cooler used the song in a commercial. Despite the fact Berry had sold the rights to the song almost immediately after writing it, he still owned the radio and TV performance rights. He became a millionaire!

Richard Berry & The Pharaohs version

Lets travel back to 1963 though, when a young band from Portland, Oregon, called The Kingsmen took a raw, raucous approach to Louie Louie, generating immediate ripples and recording something so important that it has left a permanent mark on guitar music, stamping their name into rock history. 

This could well be the most important cover version of all-time.

Apparently The Kingsmen played a 90-minute version at a teen club the night before recording. Can you imagine if that was unearthed?! What I find remarkable is how they create such a dirty sound when they look so clean cut! 

Louie Louie by The Kingsmen is gloriously messy—recorded in one take with a distorted, almost unintelligible vocal from singer Jack Ely, who had to stand awkwardly to sing into a microphone hanging from the ceiling (they were essentially recording in a radio studio), resulting in a primal energy that would define garage guitar music for generations. It's so pure and real that it is completely timeless.

Beginning with an organ riff, everything else falls in behind and the energy grabs you immediately as Ely goes straight to the chorus, his words tumbling and stumbling into each other as he flies through the you take me to where you gotta go in double quick time.

Louie, Louie, oh no, you take me to where you gotta go

Yeah, yeah, yeah, yeah, yeah baby

Louie, Louie, take me to where you gotta go

Ely is like the original Julian Casablancas of The Strokes. Sounding like he is making it up as he goes along, a detached cool don't give a f**k attitude. You can just about make out what he is saying, although the lyrics would be the subject of much debate among teenagers in America who would speculate and write their own on pieces of paper and pass them round. Amazingly, and brilliantly, this led to the FBI were investigating the song! Lets just say that the lyrics that kids were passing around were not exactly clean! Rock n roll!

A fine little girl, she waits for me

Me catch a ship across the sea

Me sailed that ship all alone

Me never think I'll make it home

After a second chorus there is an audible shout of fuck from someone somewhere (believed to be the drummer)  on the recording and Ely continues to tell his tale of sailing across the seas to his girl.

Following the second verse and another chorus, Ely screams OK, lets give it to 'em right now leading to an outstanding 30-second guitar solo over the simple and sublime organ riff. It is electrifying! The Kingsmen are in the zone, lost in the moment and no matter how many times you listen, they draw you in with them.

There is a false start before the next verse, beautifully covered with a beautiful roll by drummer Lynn Easton (my wife's name!) and then they go into it for real. This just adds to the cool, raw, unpolished, urgent vibe. The energy. You can't teach this. You can't produce this or arrange it. If you're lucky, you might capture it.

Louie Louie by The Kingsmen got off to a slow start, just 1,000 copies were initially pressed by Jerden Records, then it got picked up by a larger label, Wand Records. Remarkably, things picked up after a DJ played it as his worst record of the week! 

Sometimes, the best songs are the simplest ones, built on passion rather than perfection. The infectious energy created from Louie Louie is still being felt today. It's a classic three-chord wonder that has been covered by everyone from The Sonics to Iggy Pop, The Beach Boys to Otis Redding, The Kinks to The Clash. 

The Richard Berry original and the landmark cover version by The Kingsmen of Louie Louie are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Richard Berry original

The Kingsmen version

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie
101. Shout!



Sunday, 19 January 2025

Bridge Over Troubled Water

 

Cover version of the month #104
Artetha Franklin covers Simon and Garfunkel

One day in December I was driving through the rain when Craig Charles stopped me in my tracks by playing Aretha Franklin's version of Simon & Garfunkel's classic Bridge Over Troubled Water.

I was spellbound! There are covers, and then there are Aretha Franklin covers! See my May 2017 blog on her rip roaring version of Respect by Otis Redding.

Her 1971 take on Simon & Garfunkel’s Bridge Over Troubled Water is a masterclass in reinterpretation—transforming an already iconic song into something deeply personal, profoundly soulful, and utterly transcendent. WOW!

The original version by Simon & Garfunkel, released in 1970, is a shimmering melancholic folk-pop ballad. Paul Simon’s lyrics, inspired by gospel music, offer comfort and solace, while Art Garfunkel’s angelic voice delivers them with a serene purity. It’s a song that builds delicately, layering piano, strings, and harmonies until it swells into a grand crescendo. 

Listening to the song on headphone, it feels intimate, like Garfunkel is talking to you, like he empathises and cares. 

Then comes Aretha!

Recorded just a year after the original, Aretha’s rendition brings the gospel roots of the song front and centre, making it feel less like a folk-pop hymn and more like a sermon from the pulpit - the full embrace of the gospel choir, a heart-on-sleeve declaration of love and support. 

Aretha’s version begins with a soulful organ, immediately setting a richer tone. Then there’s her voice—raw, powerful, and infused with deep emotional, backed by a heavenly gospel choir. There is no rush, there is a lengthy instrumental passage from 26 seconds through to 1-minute 30 seconds, with a slow, soulful, slightly jazzy feel.  

Then, just before 2-minutes, Aretha sings;

When you're down and out

When you're on the street

When evening falls so hard

I will comfort you

Listen to the way she sings so hard - Goosebumps! 

Aretha sings with the conviction of someone who has lived every word, every heartbreak, and every triumph that the song embodies. This is spine tingling, life affirming stuff - listen to Franklin's voice rise with ease. Listen to the section where Aretha and her choir sing see how they shine in tandem. OOOFFFTT!

And the arrangement! The backing vocals! And that voice! Aretha isn’t afraid to go big! The choir backing her feels like a congregation lifting her up, and the rhythm section injects a subtle groove that wasn’t there in the original. By the time she hits the climactic Like a bridge over troubled water, it’s no longer just a lyric—it’s a declaration, a promise shouted from the mountaintop. 

While the groove is slow and chilled and the backing vocals are arranged beautifully arranged, Aretha is on fire - wild, radiant and impossible to contain! And it is A M A Z I N G to hear. What a sound! What a voice! The closing 90-seconds are utterly sublime.

Interestingly, Paul Simon himself praised Aretha’s version, once calling it the definitive recording of the song. 

So, which version is the best? That depends on what you’re looking for. Need a quiet moment of reflection, or a need to appreciate the art of songwriting in one of its finest moments? Go with Simon & Garfunkel. Need to feel uplifted, empowered, and ready to take on the world? Turn to Aretha. Both are exceptional performances of a truly magnificent song.

When I look back at the list of 100+ cover versions that I have blogged on, this is one of the very, very best.

I do love cover versions. One of the many beautiful things about music is how songs can be reimagined, reshaped, and reborn in ways that make us fall in love with them all over again.

Bridge Over Troubled Water won 5 Grammy's in 1971. Aretha performed her version as Simon & Garfunkel collected their awards.

Both versions are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie
101. Shout!

Friday, 27 December 2024

The Last Time

Cover version of the month #103
The Andrew Oldham Orchestra covers The Rolling Stones

I consider The Andrew Loog Oldham Orchestra cover version of The Last Time by The Rolling Stones to be a complete re-imagination of the song rather than a cover. I just don't hear anything remotely familiar to The Stones version.

Andrew Loog Oldham was (and no doubt is still) a creative soul, bursting with ideas and energy. Loog Oldham was still a teenager when he offered to manage The Stones after seeing them in 1963. When Andrew wasn't managing/producing The Rolling Stones, he was busy crafting marketing campaigns, setting up Immediate Records, producing, guiding and also forming his own 'orchestra'.

One story that I love is how Loog Oldham locked Mick Jagger and Keith Richards in a room together until they had written a song of their own. The Stones, like many bands of that era, started as a covers band. That song they wrote was As Tears Go By, which became a hit for Marianne Faithful. 

John Lennon also recounted a tale of taking the riff of I Wanna Be Your Man to Jagger and Richards and they liked it. Lennon and McCartney then went off to the corner of a room to dash the song off. The Glimmer Twins were amazed - a lightbulb moment! The song would become The Rolling Stones second single.

Although The Last Time was classed as an original composition, the song lifts the melody and lyrics from The Staple Singers This May Be The Last Time. Jagger adds a couple of verses, while Richards and Brian Jones bring a wall of sound rhythm and a distinctive piercing guitar riff to the party.

Everything rides on the riff, the groove behind it, Jagger singing along on top. 

Well I told you once and I told you twice
But you never listen to my advice
You don't try very hard to please me
With what you know, it should be easy

Well this could be the last time
This could be the last time
Maybe the last time, I don't know
Oh no, oh no

After two verses and choruses there is an instrumental, still based around the lead riff, into the chorus and another verse. One final chorus then lead into  50-second outro, Jagger ad-libbing and screaming over his band singing maybe the last time. It sounds incredible, Jagger let loose and going for it. The song fades out, I wonder how long it went on for.


The Andrew Loog Oldham Orchestra version completely reimagines The Last Time, to the extent that you wonder if it is actually a cover version at all. There is no raw guitar riff, there is no sneering Jagger or a version of him, there is no dirty groove and rhythm. Instead, we have a sprawling, symphonic statement; layers of lush strings that sound timeless, cinematic and melancholic. 

The arrangement is sublime, this isn't a song anymore, it's a soundscape, an orchestral piece of music that flow, glides and soars effortlessly. If this is the first time you have heard this, it sure won't be the last time. I always have to listen to this 2 or 3 times if I play it. Once is never enough.

3 decades later, Richard Ashcroft and The Verve discovered the Loog Oldham version and were inspired, especially the section from 1-minute 37 seconds, to write and create Bittersweet Symphony. I'll maybe write about that incredible song another time.

The Rolling Stones original and the sensational Andrew Loog Oldham Orchestra cover version of The Last Time are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie
101. Shout!

Wednesday, 23 October 2024

Shout!

Cover version of the month #101
Lulu and the Luvvers cover The Isley Brothers 

There have been a number of famous and successful Scottish cover versions over the years. Think of Wet Wet Wet's chart domination with The Troggs Love Is All Around or Bay City Rollers with The Four Seasons By Bye Baby for example.

Arguably the most famous, was potentially the first, certainly of note. Lulu's cover version of The Isley Brothers Shout! in 1964 made the song her own. Sixty years down the line, if you mention Lulu, her debut single will be the song that the majority of people immediately think of.

I marvel at the fact that the song was originally released back in 1959! I think of The Isley Brothers as being a mid-60's onwards band on Motown. Little did I know that their debut single was The Cow Jumped Over The Moon in 1957!

Shout! was certainly a step up! Gospel, rhythm and blues, rock n roll and the sound of Ray Charles are all intertwined in Shout!, creating a powerful song with a classic call and response to engage audiences on dancefloors and at concerts.

The Isley Brothers loved Shout! so much that they recorded it in parts 1 and 2. Part 1, the single and the song as it is know, is just over 2-minutes of infectious energy over a shuffling rhythm with an outrageous lead and excellent backing vocals.

There is a glorious breakdown at 1 minute 16 seconds;

I want you to know

I said I want you to know right now

You been good to me baby, better than I been to myself

As everything kicks back in, The Isley Brothers work the intensity of the song to a euphoric climax. Pt 2 is just the band continuing to vibe, breaking it back down, building it back up, having loads of fun;

A little bit softer now (shout) is repeated until they take things down to a mere murmur.

A little bit louder now - SHOUT is repeated until the band are wooping along, tambourine kicks in and the call and response that Lulu took a little further in her version is introduced.

Lulu was only 15 when she recorded and released Shout! with her backing band The Luvvers. Her voice is extraordinary! Raspy, raw, raucous and soulful, the teenage Scot delivered a performance that sends tingles down spines.

Weeeeeelllllllllllllllllllllll .... you know you make me wanna SHOUT!

What a debut single! It really does demand your attention. Lulu sounds sensational, while The Luvvers blitz through the song with a driving beat, horns are introduced and the backing vocals are in there.

After some outrageous aalllllrrrriiigghhtt's by Lulu , at 2 minutes 8 seconds, the arrangement of the song takes in the little call and response that The Isley Brothers used in Pt 2 and gives it a little longer before Lulu goes into overdrive.

Across the world teenagers would be screaming this into their hairbrush in front of the mirror. Lulu was doing it on TV shows and on tour with The Beatles. Incredible. What a cover version.

Both versions of Shout! are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie


Tuesday, 24 September 2024

Don't Leave Me This Way

Cover version of the month #100
The Communards cover Harold Melvin and The Bluenotes

Hidden away in the back end of blogger, I have a whopping 181 draft blogs in various forms! Some are merely titles, to ensure I go back and write about a specific song or album, some have notes, some are half-finished and some will probably never be completed as the moment has gone!

I have been meaning to write a blog about Don't Leave Me This Way for quite some time as it is an all-time favourite.

I played it on 6Music back in 2014 when I was interviewed by Craig Charles for his Spinage A Trois section. Craig, very generously, played the full 11-minute version and the song sounded even better on the radio. Craig commented that he had sprinkled the magic BBC dust on it.

Don't Leave Me This Way has featured in numerous playlist blogs I have written and also in my Confidently Top 10 blog that I wrote in 2019, where I selected my all-time top 10 songs ... I've just reviewed it and I don't think it has changed.

What .... A .... Song!
What .... A .... Tune!

Don't leave me this way
I can't survive, can't stay alive
Without your love, oh baby

It really doesn't get any better than this. The 11-minute version is absolute perfection; the lengthy intro, the way Teddy Pendergrass hums along, the strings coming in, then the heartfelt lyrics delivered with raw passion and soul. Then ... the build to the HUGE UPLIFTING CHORUS

Baby, my heart is full of love and desire for you

So come on darling do what you gotta do 

You started this fire down in my soul

Now can't you see it's burning, out of control

So come on darling satisfy the need in me

'cause only your good loving can set me free

I adore this song. I still find so much in it, the groove, the way it develops, the way it builds to the euphoric chorus, the way it picks up pace, the way that even as it fades out I want it to keep going. Does an even longer version exist? The jamming at the end of the full 11-minute version is ridiculous, so loose, soulful and funky.

This is a song I always played whenever I DJ'd in pubs or at parties. Even if you haven't heard it you're going to be hooked in and singing along by the second chorus. The vocals are exceptional, the band are incredible, the drums and percussion are just sublime.

My friend Gerry and I have put on a couple of DJ nights in our native Uddingston this year. It's been great fun to book out the Bowling & Tennis Club, set up and play some of our favourite songs. Our first night was very indie focused, but we're loosening up and starting to play whatever we fancy. 

Gerry closed our August night by playing The Communards cover version of Don't Leave Me This Way and it went down an absolute storm.

Released in 1986, The Communards version fused high-energy dance beats and synthpop, topped deliciously by Jimmy Somerville's powerful, raw and soulful voice.

Somerville soars, expressing vulnerability, hurt and desperation, yet also capturing the fact that he is still head over heels in love. It's a fantastic cover version, The Communards stamp their own mark on it and unlike many other songs from the era, it has stood the test of time. The production and arrangement is strong and Somerville's voice is just timeless.

I always thought this was The Communards song (after all I was 10 in 1986) and only discovered the Harold Melvin and the Blue Notes version when I picked up a second hand Wigan Casino Northern Soul compilation on vinyl. I recognised the title and wondered if it was the same song. It was!  

I've added the 6-minutes version, the 11-minute Tom Moulton mix of the Harold Melvin and The Blue Notes version and The Communards cover to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie