Showing posts with label best cover versions. Show all posts
Showing posts with label best cover versions. Show all posts

Monday, 11 April 2022

In My Life

Cover version of the month #75 - Johnny Cash covers The Beatles. 

Rubber Soul was the album where everything started to really change for The Beatles. 

Help! had hinted at what was coming. Songs with the depth of Yesterday and Lennon's gut wrenching title song highlighted that the band were ready (if not beginning) to step away from Beatlemania. Rubber Soul was that first stride, then they broke into a run with Revolver and a sprint with Sgt Peppers. 

The influence of pot had well and truly kicked in and The Beatles had also begun to experiment with LSD. The band were spending more time in the studio, money was no object and they were beginning to push and break boundaries with production, different instruments and sounds. 

It's sometimes hard to fathom that Rubber Soul was released only 2.5 years after debut album Please Please Me which (other than the previously released singles) was famously recorded in one day on 11th February 1963.

The Beatles had a 'leisurely' month to record Rubber Soul and were in such a rich vein of form that they could release AA sided single Day Tripper & We Can Work It Out on the same day.

No wonder people constantly look back at The Beatles career. It was astonishing on so many levels!

Anyway, the purpose of this blog is to look at Lennon's In My Life from Rubber Soul.

John & Paul by David Bailey in 1965

Lennon turned 25 in October 65, meaning he was only 24 when he wrote this truly brilliant song. The whole feel of In My Life benefits from George Martin playing piano that is made to sound like a harpsichord due to some production work with tape speeds. George Harrison's melodic and slow chiming guitar riff is instantly identifiable, McCartney's harmonies and oooohhhhh backing vocals are delightful, but the song is all about the lyrics.

In only 2-minutes 26 seconds Lennon goes deep; looking forward to his last day when he'll reflect, on places, lovers, friends and the special one. His Mum? Stuart Sutcliffe? Paul?

In My Life was definitely a Lennon original, but it became a true Lennon & McCartney co-write. Probably one of the last for a while! Lennon certainly acknowledged his friends help with harmonies and the middle eight, while Paul says that John wrote the lyrics and he wrote the music.

Either way, In My Life is a startlingly mature and reflective song and those qualities take on a whole new meaning when you hear Johnny Cash singing it in 2002 on his American IV - The Man Comes Around album. Cash would die the following year. The album was the last to be released in his lifetime.

The opening riff is slower and then oh my, Cash's rich, soulful and aged voice comes in. It's a stop you in your tracks moment. You're hooked, it's like Cash is talking directly to you. Really directly. It's f**king beautiful.

Slowing the song down adds an extra 30-seconds on to it and every single millisecond aches with love, hurt, reflection and regret. The instrumental is dreamy and melancholic, then Cash is back in, sounding incredible. 

This is the second time Cash has featured in my cover version of the month series of blogs (his famed version of Nine Inch Nails Hurt was cover of the month #13 back in June 2016) and it probably won't be the last. 

Get your headphones on, pour a cuppa, a beer or a nice glass of red wine and listen to this. Stunning.

The Beatles 

Johnny Cash version

 All previous cover version of the month blogs are listed below. To listen, search for Everything Flows Cool Cover Versions playlist on Spotify or CLICK HERE

There are places I'll remember

All my life, though some have changed

Some forever, not for better

Some have gone and some remain


All these places have their moments

With lovers and friends I still can recall

Some are dead and some are living

In my life, I've loved them all


But of all these friends and lovers

There is no-one compares with you

And these memories lose their meaning

When I think of love as something new


Though I know I'll never lose affection

For people and things that went before

I know I'll often stop and think about them

In my life, I love you more


Though I know I'll never lose affection

For people and things that went before

I know I'll often stop and think about them

In my life, I love you more

Written by Lennon & McCartney


Previous covers of the month

13. Hurt


Posted by at No comments:
Labels: , , , , , , , , ,

Friday, 25 June 2021

Walk On By

 


Cover version of the month #68

Isaac Hayes and The Stranglers cover Dionne Warwick

I've recently been enjoying listening to the lush arrangements of Isaac Hayes, digging into his back catalogue and marvelling at his exceptional recordings, style and delivery. In addition, I've also been making a series of 60-minute playlists/mixes and one that I'm working on opens with his sensational version of Walk On By. 

We'll come back to that though, lets get back to the original. Composed by the legendary partnership of Burt Bacharach and Hal David in 1963, Dionne Warwick recorded the song in the December of that year, releasing it in 1964.

It's a stunning example of what can be delivered through a 3-minute pop song. Warwick begins singing in 5-seconds and by the end of the first delivery we know exactly what the song is about - a broken heart, someone who hasn't got over it.

If you see me walking down the street

And I start to cry each time we meet

Walk on by, walk on by

Heart strings are tugged on the second verse


Make believe, that you don't see the tears

Just let me grieve

In private, cause each time I see you

I break down and cry

The piano melody introduced as Warwick sings cry is just simply sublime. Strings are then introduced for the third verse

I just can't get over losing you

And so if I seem, broken and blue

Walk on by, walk on by

Bacharach really does conjure a masterpiece with his arrangement,  the little (don't stop) backing vocals that he brings in after each walk on by as the song develops. David matches it with his lyrics.

There is a short instrumental from 1 minute 43 seconds to 1-minute 56 seconds, that almost fades to nothing, then Warwick comes back in singing like an angel foolish pride, that's all I have left, so let me hide, the tears and the sadness you gave me, when you said goodbye.

Warwick lifts the song for the closing section, as she twists the melody beautifully, injecting more pace in between the glorious don't stop backing vocals.

Walk On By is an absolute masterpiece of a song, pop perfection. Check the live version below - Warwick looks incredible, oozing confidence and belief.

Dionne Warwick - Walk On By

Live in 1964

5-years later, in 1969, Isaac Hayes chose Walk On By to open his Hot Buttered Soul LP, an album that came to my attention in my younger days as artists like Massive Attack and Portishead would rave about it (and mine it and other Hayes songs for samples). 

Hayes quadruples the length of the song! So he has plenty of time to stamp his own mark on it!

The instrumental intro is over 2-minutes long, the strings pull you in immediately, like your heart strings are actually being played. Hayes and his band slow things down to bass and drums, there is fuzzy electric guitar piercing the air, leading to psychedelic sounds, all over a heavy funk bass and groove.

Things build again before Hayes begin singing in a hushed voice, changing the melody to suit him, he really does sound broken-hearted.

Heavenly backing vocals are introduced, the guitar could cut the air like a knife at times, it's lovingly fuzzy at others, strings are punchy at times, soaring at others. If Warwick's version is a 3-minute pop masterpiece, then Hayes cover is an impeccable example of what you can do if you have the space, time and budget to let your imagination run wild.

Hayes sings with such care, I particularly love his vocals when he sings of tears and the sadness, backed by his glorious backing singers, who are just as important to this song as Isaac himself.

You think it's coming to an end at 7-minutes and then it is lifted, the strings take centre stage, the drums pick up the pace and Hayes begins to play with the walk on by melody.

A hammond organ is introduced to the jam after 9-minutes as the strings are eased out, the guitar kicks in, it's simply wonderful music. I imagine this was all cut live and the tape just kept rolling - sublime.

Isaac Hayes - Walk On By (full length)

Live from Montreux 2005

In 1978 The Stranglers covered the song, stamping their own take on things by speeding and (post) punking things up, injecting a sense of urgency through Hugh Cornwell's vocals before taking the song on a completely different direction thanks to an extended instrumental section, pinned down by a throbbing bass that allows keyboard and then guitar to go a little crazy.

This lasts from 1-minute 26 seconds when, after the last walk on by, Cornwell ad-libs I'm just going for a stroll in the trees, through to 5-minutes 34 seconds. I love the harmonies The Stranglers introduce at all the right times. It's an outstanding cover version, there is a real edge to it

Check below for a full list of songs to feature in my cover version of the month blogs. You can also search for Everything Flows Cool Cover Versions for my Spotify playlist or CLICK HERE.

The Stranglers full length version

The Stranglers on Top of the Pops

Previous covers of the month

13. Hurt
Posted by at No comments:
Labels: , , , , , , , , , ,

Sunday, 5 July 2020

Hey Jude


Cover version of the month #56 - Wilson Pickett covers The Beatles


Hey Jude b/w Revolution by The Beatles was released as a single in August 1968. After the psychedelic high of Sgt Peppers, following on from trips on Yellow Submarine's and taking people on Magical Mystery Tour's, this McCartney song had a much more melancholy feel to it, even the rousing sing-a-long chorus.

The Beatles had had the whole world singing through the 60's. From yeah, yeah, yeah to na, na, na, na, na, na, na. The transformation of mop top scallys to the four young men crammed on to a stage for the BBC's David Frost performance of Hey Jude is remarkable. Many, many books have been written on this period; the songs, the albums, the fashion, the artwork, the performances, Beatle-mania, relationships, drugs, love ...


Maybe I have read too many of them, or maybe I have watched The Beatles Anthology too many times, but every time I watch this particular performance of Hey Jude by the greatest tea room orchestra in the world, I do agree with many who say it marked the start of the end of the 60's. A year on from the summer of love, the drugs were wearing off or changing, things weren't quite as bright and McCartney's song is tinged with sadness, with that beautiful melancholy I mentioned earlier.

McCartney wrote Hey Jude for Julian Lennon, improvising the song on a drive to visit Cynthia Lennon and her son following her separation from John. Originally Hey Jules, McCartney thought Jude sounded better. Beatles books all point to Paul realising he had written something special and testing it out on anyone who would listen.

Paul McCartney with Julian Lennon

I love the section in the Anthology where Paul says he wasn't sure about the line the movement you need is on your shoulder and mentioned to John that he would change it. Lennon, straight away, says you won't you know, that's the best line.

Recorded over a few days at the end of July and start of August 1968, it didn't take long for the single to hit the charts and 2-weeks after that they performed on the David Frost Show.


This remarkable performance showcases the bands humour before McCartney settles himself, just singing a little melody to himself before starting the song.

Hey Jude, don't make it bad
Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better

McCartney looks totally on it. His mop top is now perfectly (scruffily) tailored, his eyes look all beautiful, stoned and serious. Lennon is chewing gum and making his guitar sound glorious as he plays the big chords, Harrison looks like he has come from Shea Stadium via India (super cool) while Starr wears a huge smile.

The song builds and builds to an epic 4-minute na, na, na, na, na, na, na refrain coda with McCartney improvising and letting out Little Richard style yelps of delight. People are practically on top of him by the end.


I've been fortunate to see Paul McCartney play live on 3 occasions; Earls Court, Hampden and the Hydro. Every time he plays Hey Jude it brings the audience together as one. Now Paul has a number of songs that can do that, but not in the way Hey Jude does. Everyone can sing na, na, na, na, na, na, na and it means something. In the same way it made Ringo smile in the TV performance, it makes people smile, sing, punch the air and hug their friends.

Of course the song is much more than the glorious sing-a-long extended mantra. There is beautiful simplistic contradiction; let it out and let it in and you have found her now go and get her, advice don't carry the world upon your shoulders, don't make it bad, ... it is a beautiful song that McCartney takes to another level by getting everyone to sing-a-long.



Wilson Pickett takes on Hey Jude and he lets it build in his own way. You can hear and feel that he is opening himself to the song more and more as it builds; with his voice, with the introduction of horns, with extra little drum fills and because you know the song, you are just waiting to see what he does at the end.

At 2 minutes 44 seconds you find out. Pickett explodes!!!! Letting out primal screams as his lead guitarist goes off on one, Pickett really does let it out for the remainder of his version.

The guitarist is Duane Allman, who would later go on to form The Allman Brothers Band. His guitar work on this song would lead Eric Clapton to invite Allman to join Derek and the Dominoes. The Muscle Shoals Rhythm Section back Pickett on this song and on the album, the playing is sublime

But back to Pickett, listen to those screams, those yelps, the pure adrenaline shooting through his body and out through his voice. I wonder if there is an extended version lurking in the vaults somewhere.

This is a stunning cover version.



Previous covers of the month
13. Hurt

















Posted by at No comments:
Labels: , , , , , , , , , , , , , ,

Sunday, 14 June 2020

Nothing Compares 2 U



Cover version of the month #55
Sinead O'Connor covers Prince

Sinead O'Connor's version of Nothing Compares 2 U must rank highly in the best cover versions of all-time chart.

As can happen in this regular feature on the blog, I discover new things about the song, or footage I haven't seen before. The footage of Prince rehearsing in the Flying Cloud Drive Warehouse, Minnesota, in the summer of 1984 is electrifying to watch. A times Prince looks totally wired, he pulls out all his James Brown moves, he's up on the drum riser, he looks super cool, lean, muscular, fit and completely 100 percent in the zone, pushing himself and his band, lost in the music.

Phew! It is stunning to watch and the song and footage may well leave you breathless.  This is the original version of the song that Prince would also record with his band The Family. He just couldn't stop writing or playing!

The simple riff played on a keyboard leads to more dramatic guitar, bass and drum flourishes and a golden vocal from Prince, aching with soulful reflection

Since you been gone I can do whatever I want
I can see whomever I choose
I can eat my dinner in a fancy restaurant
But nothing, I said nothing can take away these blues
Cause nothing compares, nothing compares to you

It's been so lonely without you here
Like a bird without a song

Prince has been burned bad, so heartbroken he goes to the doctor but rejects his advice to have fun, he's so caught up in his lost love. Listen to Prince's voice breaking and aching when he sings the verse all the flowers that you planted Mama

The soul, the drama, the musicianship .... are just incredible. What a song.


However, the original version was unreleased until 2018! And back in 1984 it was released on an album by a Prince side project, his funk band The Family, such was the volume of music pouring out of him. It was tucked away on an album and received little acclaim or recognition. I should state that in 1984 Prince released his Purple  Rain album on the back of his 1999 album. He wasn't short of acclaim!

Six years later, Sinead O'Connor took the song across the world with a stripped back emotive and soulful version. The accompanying video, largely consisting of a headshot, the shorn haired O'Connor belts it our with soul, anger and emotion, shedding a real tear, captivated millions.


Strings usher O'Connor's version in, immediately creating a different feel. The strings, like O'Connor's voice, pull you in to to her heart. She sounds absolutely devastated and lets it all out, her voice reflective and almost soothing at times, but within seconds it can soar.

The Network Forty wrote that "when Sinead sang Nothing Compares 2 U, seas calmed, angels wept and Top 40 radio stood still to listen to this powerful expression of unrequited love."

Mark Richardson from Pitchfork said "you have to look pretty hard to find a better expression in pop music of the void that exists when a relationship ends."

O'Connor delivers something truly spellbinding with her version of Nothing Compares 2 U. I would have been 14 in 1990 and I vividly remember the whole family watching O'Connor deliver the song on Top of the Pops. Her version is gut wrenching, heart breaking, tears are in your eyes and hers, you are with her, every step of the way, you feel her hurt, her anger, every ounce of her emotion.



Previous covers of the month
13. Hurt

Posted by at 1 comment:
Labels: , , , , , , , ,

Wednesday, 21 August 2019

Here Comes The Sun

Cover version of the month #47

Nina Simone and Richie Havens covers The Beatles


Incredible picture by Elliott Landy of Richie Havens at Woodstock

George Harrison's Here Comes The Sun is just perfect. Sublime, heartfelt, simple, melodic and pure pop.


One day I decided I was going to sag off Apple and I went over to Eric Clapton's house. The relief of not having to go and see all those dopey accountants was wonderful and I walked round the garden with one of Eric's acoustic guitars and wrote Here Comes The Sun.

George Harrison, from I Me Mine

The riff is infectious, everything about the song is warm and welcoming. The ice is melting, smiles are returning to faces and everything is alright. Starr's drums are brilliant, really capturing an upbeat feel that fits in with everything else going on.

It is simple, pure and pop. Perfect and Harrison arguably steals Abbey Road with its inclusion alongside the stunning Something.

It is such a gorgeous song that you'll not be surprised to hear that it has been covered by multiple artists but I'll focus on two of them.

Nina Simone's version begins like a nursery rhyme. there is a tender gentleness applied to the melody and vocal. It picks up, adds power, effortless power, you get the impression she could do so much more, but her respect and command in her version is just stunning to hear.


Richie Havens, like everything he does, makes it super cool. Even cooler by the fact that he performed it at Woodstock. Can you imagine being at Woodstock in the sunshine and hearing this? Havens plays with it, driving the rhythm guitar and his rich, soulful voice just sounds like heaven.

Both Simone appreciate the perfection of the original but add their own little magic to the song. I love them both, but in this case, the original is my favourite.



Previous covers of the month



Posted by at No comments:
Labels: , , , , , , , ,

Tuesday, 8 January 2019

Discoland

Cover version of the month #41
Gerry Cinnamon covers Discoland



Glasgow's Gerry Cinnamon is no stranger to a choice cover or two. His past sets have been peppered with them, showing off his taste and his talent by covering classics like Adored by the Stone Roses and Redemption Song by Bob Marley, two songs I love. However, my personal favourite has to be his transformation of Discoland by Flip n Fill from 2004.

The original is happy hardcore, so simple, almost throwaway, but at the same time it is pure pop brilliance. The hey, hoooo, hey hey, hoooo hoooo is genius - you can sing on first listen.

There can't be many people who have taken a happy hardcore tune and played it on an acoustic guitar, but Gerry Cinnamon actually takes 3 of them and mixes them together effortlessly. In addition to Discoland he also takes in Wonderful Days by Charly ft. Mental Theo and I Wanna Be A Hippy by Technohead. This is a cover version that probably doesn't make much sense on paper, but when played as a euphoric acoustic sing-song it actually makes such perfect sense.

Check Gerry performing it live at TRNSMT from the sunny summer of 2018.


When Cinnamon played Discoland at the Barrowlands (review here) recently it was uplifting and beautiful. The crowd were singing along in fine voice and when Gerry gets to the take me up, up, up and away section it takes things to another level. It was euphoric, the whole set was.

There was only ever going to be one addition to my Cover Versions of the Month section of the blog after the Barrowland show. I should have blogged on it before.

But check the originals below and then watch Gerry smash TRNSMT above (his full set is on YouTube) with his cover version. It is an inspired cover, the way he loops his guitar, the way the crowd respond to it, the joy it brings - sublime.





Previous covers of the month



Posted by at 1 comment:
Labels: , , , , , , , ,

Monday, 8 October 2018

ABBA-esque

Cover version of the month #39 - Erasure cover ABBA



My kids recently discovered ABBA via the Mama Mia film, so our house has been full of pop perfection for the last month or so. Thankfully it isn't always the film that is on. There is only so much of Pierce Brosnan singing that I can cope with!

So it got me thinking about the monumental ABBA-esque EP by Erasure that came out in 1992 when I was 16. Erasure seemed to be everywhere with this - Top of the Pops, the Chart Show, in the papers, in magazines and all over the radio.

Andy Bell and Vince Clarke camping it up in drag in the Take A Chance On Me promo video is something that I'm sure most people from my generation will remember!


Erasure were huge in the late 80's and into the 90's, their 1992 compilation POP: The First 20 Hits emphasised their ear for pop with Sometimes, A Little Respect and Stop being favourites of mine. Vince Clarke is a pop genius, early Depeche Mode is really the only era of the legendary band that I enjoy and then his work with Alison Moyet as Yazoo produced some incredible synth pop soul gems, Only You must be one of the best debut singles released in the 80's.

After Yazoo, Clarke placed an advert in Melody Maker to recruit a singer and he discovered Bell. The duo have never looked back and hit upon formula of euphoric synth led pop that broke down barriers and led to critical acclaim and huge commercial success.

Covering ABBA was probably very natural to two people so infatuated with pop music. And Erasure set out to have fun whilst doing it.

Clarke provides the beats and synths and whilst its not quite karaoke, Bell is clearly enjoying himself and not taking it too seriously. As was the way in 1992, in Take A Chance On Me they duo introduce a female to sing a brief ragga rap.

Erasure covered Lay All Your Love On Me, S.O.S. , Take A Chance On Me and Voulez Vous on the EP. Remaining pretty true to the originals (especially in terms of vocal melodies) and bringing ABBA's pop perfection to a new generation. After a couple of number 2 singles, this EP gave them their first number 1.

And what can you say about the ABBA originals?! They are pristine and sublime slices of pop perfection. Lyrically, melodically, in delivery, structure and production. Timeless! They deserve an essay, but for now just take some time to revisit some masterpieces of pop.



Previous covers of the month




Posted by at No comments:
Labels: , , , , , , , , , ,
Subscribe to: Posts (Atom)