Showing posts with label cover version of the month. Show all posts
Showing posts with label cover version of the month. Show all posts

Monday, 19 August 2024

I Just Don't Know What To Do With Myself

Cover version of the month #99

The White Stripes cover Dusty Springfield

Yet another cover version where I discover that who I thought was the original artist to record and release a song, was actually covering it.

I Just Don't Know What To Do With Myself came to my attention in 2003 when The White Stripes released the song as a single, taken from their Elephant album that also spawned the massive Seven Nation Army.

At the time, Jack White spoke in interviews about the song as being a Dusty Springfield cover version. While that is true, it turns out that there is an interesting story behind the song, before it was recorded by Springfield.

Written by the legendary Burt Bacharach and Hal David in 1962, the original version of the song was recorded by an artist called Chuck Taylor. That version was then shelved, until the brilliant Kent Records released it in 1984. 

However, back in 1962, Taylor's vocals were removed from the song and a singer called Tommy Hunt recorded his vocals over the top. Jerry Leiber and Mike Stoller produced the single, but it failed to chart, despite the top notch songwriting and production team. However, truth be told, neither of these versions do it for me.

Fast forward to 1964 and Dusty Springfield is well in with Bacharach and David, having recorded a number of their songs. Bacharach mentioned I Just Don't Know What To Do With Myself to Springfield. The seed was well and truly planted, the song was recorded and her version reached number 3 in the UK singles charts.

Springfield breathed new life into the song. Much like Love did to Bacharach's My Little Red Book (originally recorded by Manfred Mann and blogged on here). 

I'm so used to doing everything with you

Dusty's voice soars effortlessly at times, she drops it down at others and you know it will rise again, often in tandem with the beautiful music arrangement; drums crash, horns and strings float and the whole song just flies along. There is so much more soul and urgency in the Springfield version in comparison to the Chuck Taylor or Tommy Hunt 1962 recordings.

Dionne Warwick greatly benefited from the Bacharach and David song catalogue and seemed to be the perfect singer for many of them. So it should be no surprise to learn that she covered the song in 1966.

Warwick seems so assured, like a confession, like she is talking directly to the love who has left her this way. Springfield's version is a little bit more gutsy, like she is also giving herself a good talking to.

Listen to Warwick's voice from 1-minute 36 seconds after a delicious brief drum roll and pause. It is so effortless, gliding, soaring, swooping ... so beautiful.

I just don't know what to do with myself

I don't know what to do with myself

Baby if your new love ever turns your down

Come on back, I will be around

Just waiting for you

I don't know what else to do

Fast forward to 2003 and The White Stripes have broken through following the release of mega hit Seven Nation Army. Always a band to wear their hearts on their sleeves, performing and releasing many cover versions over the years, The Stripes followed their mega hit with their version of I Just Don't Know What To Do With Myself.

It wasn't just their raw garage rock n roll soul sound that captured my attention! The accompanying promo film was a work of art. Shot in black and white by acclaimed director Sofia Coppola, the video features supermodel Kate Moss looking absolutely sensational in black underwear, strolling around and eventually pole dancing. Moss is super seductive, oozing sex appeal, the way she moves and the way she holds the camera in her gaze is pretty breathtaking to watch. 

White Stripes - I Just Don't Know What To Do With Myself (official video)

The change in the middle eight is amplified as Jack distorts his guitar, screams for all his worth and Meg pounds on the drums. Absolutely glorious!

Like a summer rose

Needs the sun and rain

I need your sweet love

To feel all the way


The Dusty Springfield, Dionne Warwick and White Stripes 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



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Thursday, 11 March 2021

Lost In Music

Cover version of the month #65
The Fall cover Sister Sledge

I recently read Renegade, Mark E Smith's autobiography. I'm not a huge fan of the band by any means, but I did take some time to try a little bit more of their back catalogue as a result of reading the book.

And I discovered a number of cover versions that they have recorded, including an outrageous version of Lost In Music by Sister Sledge from their monumental 1979 album We Are Family.

Written by Nile Rodgers and Bernard Edwards of Chic, this sublime slice of disco house heaven was produced during a period where the duo could literally do no wrong. Everything they touched turned to gold. Check what they were involved with in the late 70's with Chic and Sister Sledge, it is just insane, then through to working with Bowie, Diana Ross and Madonna (among others) in the 80's.

Lost In Music is utterly stunning pop music. The song stretches out to 4 minutes 40 seconds, allowing Rodgers and Edwards to pull every kind of trick they have learned to create something magical. 

What are their tricks? Well there is a teasing 30-second intro, then we're straight into a double chorus that you can sing after only one listen. And there are plenty of other opportunities through the rest of the song to do just that.

The vocals and production are crystal clear, the stabbing piano/keys sounds instantly familiar and Rodgers just grooves along in his unique style, somehow playing lead and rhythm guitar simultaneously.

I've been in a club when this song has come on, if played at the precise moment, then there is nothing better, the crowd are lost in music and singing-a-long, meaning and believing every sing word they sing. It is absolutely perfect for a club.

We're lost in music, feel so alive

I quit my nine to five

We're lost in music

Rodgers & Edwards captured the NYC disco and club scene perfectly in so many of their finely crafted songs. No wonder, if you read Rodgers autobiography it sounds like he pretty much lived in some of the clubs! He certainly lived for clubbing, lived for music. He still lives for music. I've caught his Nile Rodgers and Chic shows a couple of times and I think they may well be the most uplifting shows I have ever experienced.


In 1993 The Fall decided to cover Lost In Music. They rip through it, with Mark E Smith adding his own little twist by declaring I'm Lost In Music. That simple shift from we're to I'm just personalises the song.

I'm no expert on Smith and The Fall, but I know how prolific he was and from what I have heard and read, he was lost in his own world, his own music, his own vision and dreams for The Fall.

Smith snaps, snarls and drawls his way through the song. When he half sings, half shouts I'm so alive, he actually sounds like he couldn't give a flying f**k. When he sings caught in a trap, no looking back it sounds like he is resigned to recording the cover version, rather than enjoying it.

Yet I'm strangely drawn to it. It's got a raw punk edge, it is a strange and brave song to cover. Why did they cover it? I haven't been able to track that down.

Anyway, I enjoy it and it is cover version of the month #65. Check the original, a sublime re-edit by Dimtri From Paris, the cover by The Fall and also a live version.

Lost In Music by Sister Sledge

Lost In Music, Dimitri From Paris extended re-edit

Lost In Music by The Fall

Lost In Music by The Fall, live on The Beat

And after posting this blog Duglas T Stewart of the BMX Bandits kindly tipped me off on this very atmospheric version by Anita Lane. 

Click (or search for) Everything Flows cool cover versions on Spotify for a playlist of the covers I have blogged about and read on for a full list and links to previous cover of the month blogs. 

Previous covers of the month

13. Hurt


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Sunday, 22 March 2020

Who Do You Think You Are

Cover version of the month #53

Saint Etienne cover Jigsaw



Back in 1993 I was 17, spending pretty much all my money on either going out or buying records. I've got quite a few Saint Etienne singles on vinyl from this time and looking back at their discography I'm reflecting on what an incredible run of singles they had through the 1990's, particularly in the first half.

In 93 the band released a double a-side single on Heavenly Recordings; Hobart Paving b/w Who Do You Think You Are. I have to admit, I was, and still am, rather captivated by Saint Etienne singer Sarah Cracknell and oh how she smoulders in the video!

Pete Wiggs, Sarah Cracknell and Bob Stanley

I always thought that this was a Saint Etienne song, it was only many years later when I met Duglas T Stewart to record podcast (that you can listen to here) and he selected the q version of the song by a band called Jigsaw back in 1974.

Who Do You Think You Are is pop perfection. Oh my, it really is perfect. The verse flows, builds, there is a bridge and then a glorious sky scraping chorus.

Written by Des Dyer and Clive Scott, the song was first released by the band Candlewick Green in 1973, before Dyer and Scott recorded and released their own version with their band Jigsaw the following year. The song travelled to America that year with the band Bo Donaldson and the Heywoods also recording a version.



As Dyer and Scott wrote the song, I'm going to concentrate on their version with Jigsaw.

The Jigsaw version begins with an upbeat piano riff before a beat and groove kick in. The chorus soars and the vocals are slightly strained to generate that little lift, just perfect. I love the backing vocals coming in towards the end, leaving the lead singer to just keep singing who do you think you are?


The Saint Etienne version adds in a funky drumbeat, changes the piano to keys/synths and Sarah Cracknell's voice is like honey dripped all over it. The strings help the chorus soar and the short instrumental is just pure Saint Etienne, pure pop. The extended bridge to the chorus is outstanding, lifting things ready for the take off.

Saint Etienne have always demonstrated impeccable taste in music. Bob Stanley has brought out some outstanding compilation albums over the years. The band have already featured in this feature with their transformative cover of Neil Young's Only Love Can Break Your Heart. You can find links to all the previous 52 cover version of the month blogs below.

You'll also find the video of Who Do You Think You Are? alongside appearances on Top of the Pop and The Beat.

Who do you think you are?
You tried to push me a bit too far
And every day sees another scar
Oh tell me who do you think you are
If you want me there
You gotta care, oh tell me

Who do you think you are
Taking advantage of me this way?
Tell me who do you think you are
Hurting me more with the things you say
It's not fair, you don't care
Who do you really think that you are?





Previous covers of the month
13. Hurt
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Thursday, 21 March 2019

Witchi Tai To

Cover version of the month #44

BMX Bandits cover Witchi Tai To



BMX Bandits are not the only band to have covered Everything Is Everything's 1969 single Witchi Tai To, but it was through the Bandits that I first heard the song and a recent tweet via Bandits leader Duglas T Stewart, relating to his love of the Harpers Bizarre version, caused me to revisit the song.

Back in 1993 I bought the Little Hands 4-track CD single/EP by BMX Bandits and track 3 was a beautiful home recording of a song called Witchi Tai To. It was quite beautiful, very different from anything else, I really fell for the song and it has always been a special treat when BMX Bandits played it live.

On the recorded version there is a chugging acoustic guitar and Duglas and Bandits from the time harmonise tenderly with real care before an electric guitar and beats come in. It flows beautifully, becoming like a mantra, lasting 5-minutes but I wish it was even longer.


Duglas kindly answered a few questions on BMX Bandits recording and his love of the song. I hope you enjoy the Bandits version (above) and the Harpers Bizarre one that Duglas fell for and also the original by Everything is Everything. Both feature below.

EF - Do you remember the first time you heard the song Witchi Tai To?

DTS - I was in Japan touring with BMX Bandits, I think it was 1990 and there was so many great albums available there on CD reissue that you couldn't get easily in the UK. I was particularly interested in a genre of late sixties American pop that the Japanese called Soft Rock (it means something very different here).

I met a girl called Midori who was still in her teens but seemed to know so much about this kind of music and what were the best groups and albums. She turned me on to Roger Nichols and the Small Circle of Friends, The Millenium Sagittarius, The Innocence and recommended the reissues of Harpers Bizarre's albums.

I already knew their hit version of Simon and Garfunkel's 59th Street Bridge Song (Feelin' Groovy) and their version of Cole Porter's Anything Goes and loved both, so I was keen to hear more. I really loved the stuff I got by them, especially the second and third albums. Anything Goes and The Secret Life of Harpers Bizarre. The fourth album Harpers Bizarre 4 was good but weaker than the others. But it contained the track that I loved most, Witchi Tai To.

The song on the surface was very simple, it went around in a circle but there was something so unique and a spiritual feeling about it. I had no idea what most of the lyrics meant but music is an international language that goes deeper for me than words. The music, not the lyrics, is the part of songs that communicates straight with the heart and bypasses the intellect.

The recording was so beautiful, the bass line, the instrumental hook line, the harmonies. I became obsessed by it and would listen to only it on repeat over and over for hours on end. I turned Norman on to it when I got home. I can't remember if Francis and Joe also bought that album on the same trip to Japan but they also certainly loved it.

Harper Bizarre - Witchi Tai To

EF - You covered the song back in 1993 and the recording is pretty special, very tender and caring? What are your memories of recording it? It is described as a home recording - was it your home?

DTS - I'm pretty sure we recorded it at least a couple of years before it was released. I am glad you say you like the recording but it wasn't done with that much care. Francis, Norman and I were all at Norman's Gran's house in Bellshill. Norman lived there at that time and BMX Bandits had often rehearsed there. One day because we were all still enthusing about the song and the structure and that bass line, we decided to just do a version with the three of us. I'm pretty sure it only took an hour or two. We used a simple drum machine and I think we thought that it didn't compete with the Harpers Bizarre version but we enjoyed doing it. People still say how much they love our recording of it and I'm sort of surprised but I think it's because for lots of people that was what they first heard and we pretty much stuck to the Harpers Bizarre's template.

Duglas T Stewart 

EF - It flows so beautifully as a song, what is it like to play live?

DTS - I always love playing it live. I think playing it live, with Francis or Stuart or Jamie on drums and more developed harmony parts and dynamics, it's much better than our home recording version. We have often thought about doing a proper recorded version but have never got round to it.

EF - Has your appreciation grown over the years? What do you think about the song now?

DTS - Over the years I've got to know more about the song and heard other versions, some good, some less to my taste. There's a version by Brewer and Shipley which I think was a sort of hit in the U.S. but I really hate that version and I'm glad it wasn't the version I first heard or I probably wouldn't have fallen in love with the song. The song was written by a native American musician called Jim Pepper and was based on a tribal spiritual song. The original version was by his group Everything is Everything and I think that's also a really great version. Just avoid the Brewer and Shipley 'hippy sh*t' version.

I have a theory the song might have been an inspiration on two songs by Wire, Outdoor Miner and Kidney Bingos. Both songs certainly seem to contain elements of Witchi Tai To in them. Outdoor Miner is a masterpiece so if they did borrow from Witchi Tai To, I'm glad that they did.

My appreciation and love of the song has never diminished and even now I will still put on the Harpers Bizarre version on repeat for 30 minutes or an hour.

I ended up marrying Midori, who introduced me to so much great music and encouraged me to be unafraid of taking our music into new directions. We've not been together for many years now but I will always be grateful to her.

Thanks to Duglas for sharing his love for a beautiful song and for the memories of discovering and recording it.

Let's end with the original, written by Jim Pepper and recorded with his band Everything Is Everything, Witchi Tai To was derived from a peyote song of the Native American Church which he had learned from his grandfather.

I hope you enjoy the 3 wonderful versions of this song.



Previous covers of the month
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