Showing posts with label cool cover version. Show all posts
Showing posts with label cool cover version. Show all posts

Tuesday, 7 July 2026

Just My Imagination

Cover version of the month #122
The Rolling Stones cover The Temptations

I stumbled across The Rolling Stones 1978 album called Some Girls in a lovely bar in the old town section of Malia while on holiday with my wife (then girlfriend) back in 2003. The guy serving behind the bar was also DJ-ing and he played a song that captured my attention.

Me - Who is that?

Barman - The Rolling Stones.

Me - No way?

He passed the CD case across the bar. The song was Miss You, the lead song on (and single from) the album. Kind of disco, kind of soulful, kind of dirty - most definitely cool. I asked him to play it again as soon as it finished.

My wife and I ended up in this wee bar every night. The strip was most definitely not for us, while the old town had quaint little restaurants and bars to chill in. The barman played Miss You every time we went in and often just let the album run on. I bought a copy as soon as I got back to Scotland.

While I most definitely fell for Miss You and the groove of Beast of Burden,  I was also captivated by the Stones cover version of Just My Imagination (Running Away With Me), a song I knew from a soul compilation album I had. 

The Stones are in the zone, they are in absolutely no rush, beautifully lazily loose. Charlie Watts gets a delicious crack from his snare, Keith Richards sounds like he is in love with his phaser pedal and the way his guitar gels with Ronnie Wood is utterly sublime. The Stones sound like the best band in the world - just jamming on a song they love.

The soul of the song is there, but the Stones take it from Motown to a place that maybe only the Stones know how to get to. They throw it under a new light ... or maybe they take it into the shadows, into the darkness. You can just imagine them playing in a dive bar down a gritty side street. 

Many cite the Stones Some Girls album as something of a rebirth, given that it was released in a world of punk and disco. Perhaps that inspired Jagger and co. Miss You definitely has a dirty disco groove and beat, while closing track Shattered is new wave before new wave. 

Setting up camp at Pathé Marconi studios in Paris, the Stones recorded on a 16-track and cut their band back to the bones with no session musicians. This was Jagger, Richards, Wood, Wyman and Watts. Richards felt that session musicians took the band away from their natural sound. As a result Some Girls was a lean, hungry and remarkably aggressive record, returning the band to a tight, street-wise, bar band. And that really comes across on their cover of Just My Imagination.

Jagger sneers and swaggers through the lyrics that sound so innocent in the original. Behind him, his band sound a few beers and smokes in, you can easily imagine bottle resting on amps and fags hanging from mouths as they play. Maybe in New York City, as Jagger changes the words in the final verse from The Temptations of all the fellows in the world, she belongs to me to and of all the girls in New York, she loves me true.

Jagger also ad libs in the second verse and sounds true to himself, rather than The Temptations.

I say I am just a fellow, with a one track mind

Whatever it is I want baby, I seek and I shall find

Listen to him harmonise with Richards on the chorus - ooft. What a band!

Richards fell for a MXR Phase 100 pedal that you can hear across the album. It creates a swirly, dreamy psychedelic effect, though through the interplay with Ronnie Wood and with Charlie Watts crack beat, the the Stones kick up the tempo. The little instrumental after the second chorus is stunning.

Respecting the melody (and band - they previously covered The Temptations Ain't Too Proud To Beg and My Girl), The Stones didn't quite run away with their imagination, but they definitely allowed it to drift enough to put their own stamp on the song. This is a magical cover version, for me, one of the bands finest covers in their massive catalogue.


The original is a Motown masterpiece - one of many!

Released in 1971, The Temptations' original version of Just My Imagination (Running Away With Me) was written by the legendary powerhouse duo of Norman Whitfield and Barrett Strong, it is a masterclass in sweet, symphonic soul. A beautiful, fragile orchestral piece of Detroit Motor City magic

Driven by the breathtaking, delicate falsetto of Eddie Kendricks, the track captures the ultimate bittersweet daydream. Lush, cinematic strings and a gently weeping French horn back a daydream of love, a relationship and marriage. It all seems so real that the author/singer is caught up in the romantic fantasy, before realising it is just his imagination.

I tell you, I can visualise it all you see
This couldn't be a dream, far too real it all seems

But it was just my imagination (once again)
Running away with me 

The bridge sees Kendrick lost in his fantasy and praying to the Lord not to take his love away from him, only to snap out of it before he hits the chorus again.

Ooh, her love is heavenly

When her arms enfold me, I hear a tender rhapsody

But in reality, she doesn't even know me 

While The Temptations original is a fantastic song and recording, The Stones version is my favourite. It just oozes cool and they really seem to be in the zone.

The Temptations original and The Rolling Stones cover version 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
101. Shout!


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Monday, 8 June 2026

Get Ready

Cover version of the month #121
Ella Fitzgerald and Ash cover The Temptations

Released on Motown Records in 1966, The Temptations Get Ready, written by Smokey Robinson, is a sub 3-minute gem, with horns, bass, strings and drums creating a driving energetic riff from the off. 

I never met a girl that makes me feel the way that you do (you're alright)

The relentless bassline is the engine for the song, with Eddie Kendriks taking lead vocals, instead of David Ruffin. Kendricks soaring falsetto is exceptional, soaring effortlessly above the collision of brass, strings and the driving beat.

There is an urgency to the song, exemplified by the title and the kiss off hook in the chorus get ready, cause here I come. The lift into the chorus is sublime. Get Ready is the sound of young America at its most vibrant, sounding full of confidence ... unstoppable.

And I'm bringing you a love that's true

So get ready, so get ready

I'm gonna try to make you love me too

So get ready, so get ready

Cause here I come, I'm on my way


Fast forward three years and Ella Fitzgerald is recording a rip roaring version at Olympic Studios in London for her 1969 album Ella. It's an absolute revelation! Driven by Brian Bennett on drums, this is a sweat soaked funk jazz romp, with Fitzgerald sounding like she is having the time of her life. The Temptations original has urgency, but Fitzgerald really does ramp it up a notch or two.

The backing vocals are glorious, understated in the mix, still leaving plenty of room for Fitzgerald - as if she was gonna have it any other way! Her vocal performance is fantastic, fire-y and fierce. The horns help to anchor everything. The riff is just played with a little extra oomph. It's a glorious cover version.

Ash - Goldfinger 
Get Ready was a b-side

Fast forward again, this time almost 30-years and Ash, a trio of teenagers from Northern Ireland, are making a name for themselves with a string of singles. Goldfinger, in April 1996, was the final single to be released, leading to 1977, their debut album, the following month. One of the b-sides was Get Ready - previously released as a limited fan-club 7-inch.

Ash’s version of Get Ready sounds exactly like what it is: three mates in a sweaty studio with Tim Wheeler's fuzzed guitar cranked up to eleven. It's delicious raw garage rock/pop. You can't mess with a melody or riff as strong as the ones Smokey Robinson created. So Ash just put their own spin of teenage exuberance on it. Fuzz, distortion, crashing beats and Tim Wheeler's glorious bubblegum pop delivery. Punk pop perfection.

I am currently in love with this song, particularly the Ella Fitzgerald version, which prompted this blog. Somewhere in my loft is the CD single by Ash. While researching, I also discovered a 21-minute + cover version from 1968 by a band called Rare Earth. It's ... OK ... not as cool as a 20-minute version could be. It begins with a lazy jam before they head into the song, then off on a bass heavy jam to begin with. The beat and bass are probably ripe to be sampled. Organ kicks in and away they go. It's too long for me. Give me the Creedence take on I Heard It Through The Grapevine any day of the week. Rare Earth also released an edited single version, under 3-minutes long. 

The Temptations original and both the Ella Fitzgerald and Ash 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!
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Wednesday, 4 March 2026

Femme Fatale

Cover version of the month #117
Big Star cover The Velvet Underground

The Velvet Underground and Big Star are two majestical, mythical and magical bands that have influenced (and have been consistently highlighted by) Scottish bands like Orange Juice and Teenage Fanclub through to bands bursting on to the scene at present. 

Art-rock NYC cool, melodic vulnerability, quintessential guitar power pop and vocal harmonies. You could easily argue that the two bands stand as the ultimate patron saints to the Glasgow independent guitar pop scene. Throw in Love, The Byrds, punk bands like Buzzcocks, The Clash and Subway Sect and that's the bones of your top 10.

One song that links both of these legendary bands is Femme Fatale, written by Lou Reed and inspired by a throwaway Andy Warhol comment about Factory 'it-girl' Edie Sedgwick. New info for me - I always thought it was about (and for) Nico!

"Oh, don't you think she's a Femme Fatale, Lou?"

The Velvets recorded the song in 1966 and it was released as the b-side to Sunday Morning in December of that year and then as the third track on their debut album, the mind blowing The Velvet Underground & Nico in March 1967. It's an album that everyone with a vested interest in the history of guitar music seems to be magnetically drawn to as a teenager.

It's well documented that the album was a flop, entering the charts at number 199 upon release and then leaving the month afterwards. Check this excellent feature article by Scottish writer Grant McPhee for Into Creative.

McPhee takes a deep dive into the myth of The Velvet Underground and Nico, particularly around the sales figures, stemming from a famous quote by Brian Eno about the album only selling 30,000 copies in its first five years.

... everyone who bought one of those 30,000 copies started a band. Brian Eno

Enjoy Grant's blog. But back to Femme Fatale. Listening again, I can't help but wonder who (if anyone) Nico was thinking of whilst singing the song. Edie? Or herself? 

Here she comes

You'd better watch your step

She's going to break your heart in two

It's true

The Velvets recording is icy cool. Nico’s vocals are famously flat, off-key and the way she pronounces clown as clun at the end of the second verse is quite funny. Funny, but ridiculously cool!

She'll build you up just to put you down

What a clown

Almost 60-years on and The Velvet Underground remain a blueprint for independent guitar music. Femme Fatale is a prime example why. Short (2-minutes 39 seconds), seemingly simple, impossibly cool and utterly beautiful. Pop music can be both a hook and a heartbreak simultaneously.

Lou Reed's NYC drawl in response to Nico's rise for the chorus is sublime.

Cause everybody knows, (She's a femme fatale)

The things she does to me, (She's a femme fatale)

She's just a little tease, (She's a femme fatale)

The closing two lines of the chorus are left to Nico, over the chiming guitar riff. They are, for me, the two coolest lines of the song, sung as if Nico is in admiration of the girl she is singing of.

See the way she walks

Hear the way she talks

In the next verses, Nico (using Lou's words of course) is clearer about her warning. The guy is merely number thirty-seven in her book. She's from the street, so already has all the guys beat and is going to play you for a fool.

Alex Chilton recorded his version for the legendary Third/Sister Lovers album sessions. The Big Star version is stripped back and fragile. Chilton sounds like he is singing from the experience of having his heart broken by the femme fatale, warning others, yet still infatuated.

Big Star are in no rush here, everything is slow, the intro longer, it all feels darker, as if Chilton is barely holding it together. It's beautiful.

Others have covered this gem of a song too. Among them - I've just found the Duran Duran version ... and ... I'm not a fan! Teenage Fanclub covered it with tender care on the b-side of Ain't That Enough. And Fatale, who I have written about a number of times over the last 6-months or so, took their name from the song and recorded it as their first demo. The way the crowd sing-a-long with Lou's she's a femme fatale line at the Fatale gigs is incredible - like they are breathing new life into the song and turning it into an anthem.

Fatale - Femme Fatale (demo)

The Velvet Underground & Nico original and the Big Star cover of Femme Fatale 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!


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Tuesday, 20 January 2026

Vapour Trail

Photo by Joe Dilworth

Cover version of the month #116
Trespassers William covers Ride's Vapour Trail

Trust me #110 - Vapour Trail by Ride

I started revisiting, reading and writing about Ride's blissful Vapour Trail for my Trust Me series and playlist. I'm still going to add it to that playlist. However, while researching the song, I discovered a gorgeous slow burning cover by a band called Trespassers Williams, hence, Vapour Trail is added to my cover version of the month series and playlist. Read on!

Ride burst on to the independent music scene in 1990 with a trilogy of EP's and debut album Nowhere. Aged between 18-20, the band seemed to be in their own world. Andy Bell, Mark Gardner (guitars and vocals), Steve Queralt (bass) and Loz Colbert (drums) looked fantastic, like a real gang and the four friends had a clear vision for their sound and values. 

Many labels were in the race to sign Ride from early doors, but Creation Records was the label Ride wanted - The Mary Chain and My Bloody Valentine being crucial factors. There is a great section on Creation chasing and getting Ride in the magnificent Creation book My Magpie Eyes Are Hungry For The Prize by David Cavanagh.

Vapour Trail, the closing song on Nowhere, seems so perfectly formed. Magical. If Ride's EP's and much of their debut album had a wall of noise that marked them as shoegazers, Vapour Trail had more space, a string quartet and a crystaline, chiming 12-string riff that really highlighted the bands development and maturity.

The song rides in on warm chords and Andy Bell singing the first line before the band fall in behind him.

First you look so strong, then you fade away

The sun will blind my eyes, I'll love you anyway

Thirsty for your smile, I watch you for a while

You are a vapour trail, in a deep blue sky

There are only 2 verses, with Bell singing about a love that seems to be fleeting (like a vapour trail), while he wants more. Each verse is followed by a la, la, la, la, la refrain. i particularly like the third line in the second verse - Bell is all in.

Tremble with a sigh, glitter in your eye

You seem to come and go, I never seem to know

And all my time is yours as much mine

We never have enough time to show our love

"I remember writing the riff in a hotel room on a very early Ride tour. We were in a bed and breakfast type scenario, and I was sitting on a bed with an acoustic to get that four-chord pattern which is really very simple. It’s played on two 12-strings. People seem to be quite interested with the guitar sound on this record, if there are fades or effects, but there’s not; it’s just two 12-strings. It’s just one of those magical songs. That’s the one that everyone talks about on the album in my experience. These songs are the easiest to write and the ones that you don’t really think about at the time. It came out so easily and it has that effortless feel to it. I guess it is the one I’m most proud of from that era." Andy Bell, MTV Hive, 2011

The second refrain finishes just before the 2-minute mark and everything cuts to leave the guitars before the drums come crashing back in, bass underpinning everything. Then comes the gorgeous string quartet over the top, the guitars continue to chime, the drums are cool and the bass is holding it all. 

Ride are lost in the music and invite the listener to do the same, letting things flow for almost 2-minutes before the guitars and Loz's ferocious drumming cut to leave the string quartet to play the song out. Sublime! Heart-achingly beautiful.

As mentioned above, I've recently discovered a gorgeous slow burning cover of Vapour Trail by Trespassers William who released their version as a single in 2003. The song also featured on the Bella Union UK version of second album Different Stars, that was initially a self release in 2002.

Anna-Lynne Williams and Matt Brown are the two constant members in the band, who released three albums between 1999 and 2006. Cast, a compilation album of b-sides and rarities came out in 2012.

How on earth do you cover Vapour Trail?!

Well, Trespassers William don't just show their love for the song by playing and replicating it. Instead, they slow the whole thing down, it's a dreamy swoon. Anna-Lynne Williams has a voice that sounds like a secret being whispered in your ear. It’s fragile, melancholic, and utterly captivating. You can tell they've spent a lot of time with this song. 

Gentle and persistent piano, reverb-drenched vocals, distant echoes of slide(?) guitar, then a little jangle, before a solo is introduced over the top. Oooft this gives me the tingles.

If Ride's version is a teenage Andy Bell writing about the excitement of new love and infatuation, the Trespassers William cover is like a heart-aching reflection of a love that's long gone, but fondly remembered.

Utterly gorgeous. Enjoy.

Ride's original and the Trespassers William cover of Vapour Trail 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 I've also added it to my Trust Me playlist.

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!



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