Showing posts with label list of cool cover versions. Show all posts
Showing posts with label list of cool cover versions. Show all posts

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, 20 May 2026

Jolene and I Will Always Love You

Cover versions of the month #119 & #120 
White Stripes and Whitney Houston cover Dolly Parton

I have a list of songs and cover versions I intend to research and blog about when time allows. The White Stripes ferocious take on Dolly Parton's Jolene has been on that list for a while. As I set out to finally write about Jack and Meg White's ferocious garage band cover version, I stumbled across something astounding that made me decide to also write about Parton's I Will Always Love You.Whitney Houston's skyscraping version was number 1 for months in my youth.

The astounding fact is ... Dolly Parton, very likely, wrote both of these world class songs in one day! 

In 2017, Parton told a radio show that she had found an old cassette of some initial songwriting ideas/demos. Jolene and I Will Always Love You were on it, back to back! In a later interview with GQ in 2020, Parton said; 

If I didn't write them on the same day, it was during that same week, or that period of time when I had that particular cassette in my little player. It was very possible that it happened.

Wouldn't it be great to hear that initial demo?! Parton allegedly has a treasure trove of demos and unreleased songs. That would be some boxset!

Jolene was initially released as a single in late 1973, before becoming the title track of Parton's February 74 album. I Will Always Love You was then released as a single in March 74.

The picked guitar riff intro (by Chip Young) to Jolene is iconic - instantly recognisable. More subtle, is Wayne Moss playing the beautiful pedal steel guitar. Listen carefully, it is truly gorgeous. Headphones are recommended! Parton begins the song with the chorus, leaving the listener in no doubt about her concerns and the subject matter of the song through a heartfelt plea.

Jolene, Jolene, Jolene, Jolene

I'm begging of you please don't take my man

Jolene, Jolene, Jolene, Jolene

Please don't take him just because you can

Parton becomes more poetic in verse as she sings of Jolene's beauty, hair, skin, eyes, smile and voice. She knows, and admits, that she cannot compete.

After the first verse, there are two shorter verses, with Parton admitting that her love talks about Jolene in his sleep, and how she knows Jolene could take him, but she doesn't know what he means to her. After a chorus, Parton is back delivering two shorter verses, highlighting that this is the love of her life and her happiness now lies in the hands of Jolene.

It's heartbreaking to see the lyrics written down in black and white and to listen to Parton's pleas. What a voice! Parton is in danger of being heartbroken and you can hear it.

The song was inspired by a red-haired bank clerk who flirted with Parton's husband Carl Dean, just after they were married. Parton revealed that Jolene's name and appearance were based on those of a young fan who came on stage for her autograph.

I Will Always Love You is breathtakingly good. I mean, songwriting doesn't really get much better than this. The delivery is extraordinary. Parton's voice is astonishing and when the choir comes in to back her up it hits like a punch. If you didn't have tears in your eyes, then you might have now.

The intro is heartachingly tender and then Parton comes in ... WOW - this must be one of the best vocal performances of all time. I have to stop writing every time I hit play on this song. Parton won Female Vocalist of the Year at the 1975 Country Music Awards for this song - deservedly so!

If I should stay, I would only be in your way

So I'll go, but I'll know

I'll think of you each step of the way

Then you hear the chorus for the first time, Parton's voice rising, full of love and heartbreak;

And I will always love you

I will always love you

Partron's portrays lost love with tender care and through beautifully poetic lyrics. The second verse ends with the devastating realisation;

Good-bye, please don't cry

Because we both know I'm not what you need

Followed by the two line chorus. Coming in on the back of those lyrics, it hits even harder. The love is still pouring out, despite the hurt. The third verse is spoken word, Parton over strings and gently strummed acoustic guitar. The heavenly backing vocals that come in behind her for the final chorus really tug on the heart strings. Gorgeous. 

Had I ever heard Parton's original before researching this blog? I must have! Maybe on news clips back around the time Whitney Houston was at number one forever. But this was pre-internet. You couldn't just look something up on Spotify or YouTube! Anyway, Parton's original has blown me away!

On to the covers by The White Stripes and Whitney Houston ...

The White Stripes electrifying and spine tingling garage punk cover version of Jolene is raw and raucous. Jack White is spitting out the lyrics with passion and fire, while you can hear his guitar buzzing from the start.  Meg's drums are pure primal, coming in to help add urgency at all the right times, also falling back to allow Jack's voice to lead at others.

The band covered loads of songs through their career, but seemed to have a real affinity with Jolene - originally releasing a studio version as a b-side to Hello Operator in 2000, and then a live version from Blackpool in 2004.




I was fortunate to catch The White Stripes play King Tuts back in the day and their performance of this song was a stand out. Jack White playing a battered guitar and switched between microphones, while Meg looked super cool, following his lead, catching his eye, totally in tune.

Research leads me to believe that the guitar White played, that looked like it was covered in paper mache - but it wasn't, was his 1950's Kay hollowbody - believed to be a Kay K6533 Value Leader. It was like nothing I had previously seen. Likewise, I hadn't seen any band with such a ferocious live energy as The White Stripes. Their distinctive look and colour scheme, raw and powerful sound and incredible energy were captivating and mind blowing.



Music fans of my generation will remember this cover. How could you not?! It was inescapable, number 1 for months, thanks not only to Whitney Houston's remarkable vocal range, but due to its feature in the Bodyguard film in which Houston starred with Kevin Costner.

Listening back, Houston's voice is mesmerising. Her 3-3.5 octave range was unique in popular music and it made everything seem completely effortless to her, extraordinary to us mere mortals. Starting off acapella for the first verse, Houston's voice is beautifully tender. Strings are introduced for the chorus and then Houston's voice starts to really shine. By the second chorus, she is reaching notes that most can't even dream of.

The instrumental section is more 80's than 90's (the song was released in 1992), indeed, listening back, the music is very 80's and doesn't really match Houston's soulful voice. There is A LOT of saxophone and it even makes a reappearance when Houston is soaring through the post instrumental chorus. Like, really soaring.

However, the music is a mere footnote in this cover version, it's all about Whitney Houston and her extraordinary voice. You can only imagine the version she could have recorded with a producer like Rick Rubin, or even Mark Ronson - think of what he produced with Amy Winehouse.

Parton's sublime originals and The White Stripes (studio and live) and Whitney Houston cover 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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Tuesday, 28 April 2026

You've Got A Friend

Cover version of the month #118
James Taylor covers Carole King

This exceptional song was written by the legendary Carole King after hearing James Taylor's Fire and Rain in which he sings I've seen lonely times when I could not find a friend .

King recorded it for her Tapestry album with Taylor simultaneously recording (with the same musicians) for his Mud Slide Slim and the Blue Horizon album. Both were released in 1971, with King's original coming out first. Taylor also released his version as a single and the song hit number one on the Billboard Hot 100. 

Carole King's Tapestry album is, in my humble opinion, one of the best of all-time. It's heart on the sleeve stuff, full of empathy and emotion. And You've Got A Friend is bursting with a pure and heartfelt message of unwavering support and friendship. Simple, soulful, sincere and a sense of solidarity.

When you're down and troubled, and you need some lovin' care, and nothing is going right

Close your eyes and think of me, and soon I will be there, to brighten up even your darkest night

Ooft - isn't that gorgeous? Sometimes I appreciate lyrics more when I write them down/type them up. Same goes for the structure. The way the lyrics flow is incredible. King's use of and to begin the second, third and fifth lines works so well.

Tapesty is a beautifully warm and inviting album, listening back during cold and dark winter nights, it's like a warm blanket with a hot water bottle thrown in for good measure.

You've Got A Friend is as good as songwriting gets - heartfelt lyrics, glorious melodies, uplifting chorus, stunning arrangement, warm production and outstanding performance - goosebumps and spine tingling stuff! Life-affirming ... as I like to say about the best songs.

Listen to that chorus;

You just call out my name, and you know wherever I am, I'll coming running, to see you again

Winter, Spring, Summer or Fall, all you have to do is call, and I'll be there, you got a friend

King's personal message has a timeless quality that. The universal themes of loyalty, friendship, and support in times of need will always be relatable, they will always tug on heart strings.

You've Got A Friend won the Grammy Award for Best Female Pop Vocal Performance for Carole King and the Grammy Award for Song of the Year for its writer. Critically applauded, the song was also a commercial smash, reaching number 1 on the Billboard Hot 100.

If King's original has an urgency to the message (title) like she is trying to gee someone up - hey, you've got a friend, don't forget that, James Taylor's version is more gentle. His voice is soothing and the whole feel of the song is calming. Taylor's voice, acoustic guitars, considered percussion and backing vocals - his version is an arm round the shoulder, the same message as King, but in a different way.

King's original and Taylor's cover of You've Got A Friend 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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