Showing posts with label Sunshine Of Your Love. Show all posts
Showing posts with label Sunshine Of Your Love. Show all posts

Friday, 14 June 2019

Sunshine Of Your Love

Cover version of the month #46

Spanky Wilson covers Cream


Those drums, they really kick, the horns jab hard, again and again, the vocals are so clear, raw, clear and if you don't get tingles down your spine when they rise ....

I'll be with you when the stars start falling

And listen to the way the bass becomes more important through the song as it progresses. Spanky Wilson's cover of Cream's Sunshine Of Your Love is seriously soulful, funky and jazzy. She lets rip and her vocals are jaw droppingly, spine tinglingly good. She is totally 100 percent on it!


Sunshine Of Your Love was originally written and recorded by Cream in 1967, the summer of love. It's slower, heavier and although it is still extremely powerful, for me Spanky Wilson's version blows it out of the water, I could listen to her version 10 times in a row.

I was fortunate to catch her live at The Arches back in the day when she was promoting an album she had recorded with Quantic Soul Orchestra - what a voice. Spanky Wilson's song You is outrageous, I discovered it on a Living In The Streets compilation - wah wah jazz, funky soul and other dirty grooves, I would highly recommend buying a copy.

I think I first came across the song in a Jimi Hendrix documentary when it cuts to him playing Hey Joe on the BBC programme A Happening For Lulu, halfway through he announces he is going to stop playing this rubbish and dedicate a song to the Cream, regardless of what kind of group they may be in, I dedicate this to Eric Clapton, Ginger Baker and Jack Bruce.

Hendrix and his band then lock into the groove and play an instrumental over the closing credits, with Hendrix at one stage shouting 'they're trying to throw us off the air'  or words to that effect. Try as I might, I can't locate this on YouTube. It is thrilling television, the best I can find is a mini documentary on it, unfortunately not letting the clip run from start to finish.

Again for me this version is much more thrilling than he original. Hendrix is playing for fun and lets his passion and imagination run wild.


It's not that the original is bad (see further down), it's just that, for me anyway, Wilson and Hendrix take the song to higher places. 

Read on for links to all previous cover versions of the month.


Previous covers of the month


Monday, 1 February 2016

All Along The Watchtower

Cover of the month #9

All Along The Watchtower - Jimi Hendrix



Most, if not all, of my blogs on cover versions to date talk about artists transforming a song - Jimi Hendrix takes on Dylan's All Along The Watchtower and takes it to another planet. Hendrix guitar playing is trailblazing. Mitch Mitchell more than matches Hendrix' guitar with his ferocious drumming. Noel Redding usually underpinned everything, but Hendrix plays bass on this recording. Online info seems to indicate Redding walked out of the recording as it was all done rather spontaneously with Hendrix shouting chord changes. Brian Jones from the Stones plays percussion. 

Dylan's version came out in 1967 with Hendrix following swiftly a mere 6-months later. Hendrix peppered his career with covers; Hey Joe being the obvious one, but he also covered The Beatles Sgt Peppers Lonely Hearts Club Band on the day the album was released, shredded Wild Thing and famously interrupted a live TV performance of Hey Joe by saying 'We'd like to stop playing this rubbish and dedicate a song to Cream....' and taking off on an instrumental tribute of Sunshine Of Your Love to the band who were breaking up.

Hendrix is on fire, the breakdown at 2-minutes in and subsequent guitar solo with Hendrix yelping 'hey' goes on for a spellbinding 50-seconds before Hendrix brings it all back in.

Dylan has said of Hendrix' version: 'It overwhelmed me, really. He has such a talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn't think of finding in there. He probably improved upon it by the spaces he was using.'

Hendrix's version remains pretty true to the vocal melody (although he gives it more urgency and just sounds typically Hendrix cool) and acoustic rhythm, but his electric guitar just takes it to another dimension. The needle practically leaps of the record, it sounds vital, there is so much going on, yet like Dylan says in his quote above, Hendrix finds space and he also finds a real groove.