Archive

Archive for the ‘Covers Mixes’ Category

Beatles Recovered: Sgt Pepper’s

June 15th, 2017 10 comments

The release of Sgt Pepper’s Lonely Hearts Club Band 50 years ago rewrote the rulebook of pop music. It’s not that it was the first concept album (in as far as it was even that in the sense we’ve come to understand the idea now), nor the first to dabble innovative studio tricks (The Beatles themselves had done so on Revolver, and Brian Wilson was perhaps even more innovative at the time). But for contemporaries, the album changed everything.

Perhaps it was also the cover that had such an impact. It was not usual to create artworks for LP covers — the Beach Boys were still goofing about with animals on snapshots for the sleeve for Pet Sounds. One could study Peter Blake’s collage for the duration of Side 1 and while away the inferior second side studying it some more,, and return to it over and over again. Even today, it is a significant piece of 20th-century art.

But the thing is, Sgt Pepper’s is greater in its context than it is within the canon of Beatles albums. Of course, there are mighty tracks on it. A Day In The Life is a masterpiece, but I know few Beatles fans whose life would be poorer for the absence of Lovely Rita, or, indeed, Within You Without You (cleverly sequenced to start Side 2, for easy skipability). It doesn’t require clever revisionism by deliberate iconoclasts to regard Sgt Pepper’s as not the greatest album the Beatles made. But it does require the revisionism of fools to call it overrated. Sgt Pepper’s is a great album, especially the first side, and its historical impact cannot be overstated.

And if the later rule of already-released singles finding a place on albums had been in force, imagine how much better Sgt Pepper’s might have been with Strawberry Fields Forever and Penny Lane. In the event, EMI insisted on releasing the songs, which were recorded as part of the Sgt Pepper’s sessions, as a double a-sided single.

A poster of The Beatles in Sgt Pepper’s uniforms in the German youth magazine Bravo in July 1967. (see www.bravoposters.wordpress.com for daily vintage Bravo posters)

Just a couple of weeks after Sgt Pepper’s was released, The Beatles recorded All You Need Is Love. The boys — Ringo was just turning 27; John was 26, Paul was about to turn 25, George was 24 — were on a hot streak.

Of course, Paul McCartney will turn 75 this month. But 50 years ago he was already dead, and long-standing research shows that Sgt Pepper’s provided the proof we’d have confirmed by the Abbey Road cover, by way of very clear clues. To start with, there’s a new band with one Billy Shears as the singer (well, Ringo is Billy Shears, but let’s not have Failing Fake News disturb us). In A Day In The Life John sings: “He blew his mind out in a car”, indicating the method of Paul’s death. And if you play the song backwards, you apparently can hear the phrase, “Paul is dead, miss him, miss him”. At the end of Strawberry Fields Forever, John says, “I buried Paul”. Lennon claimed he mumbled “cranberry sauce”, but why would he say “cranberry sauce” when Paul is dead and he buried him? Wake up, sheeple!

And then there’s the cover. In the foreground is clearly a grave — Paul’s grave! Look at the wax figure Young Beatles: Ringo is sad, very sad, as he looks at Paul’s grave. John is putting a comforting hand on Ringo’s shoulder (George seems glad though. Was he involved in the plot to kill Paul?). On the back cover, “Paul” turns his back; even Fake Paul is trying to give us a clue, apparently trying to escape the conspiracy. And here’s the smoking gun: Place the cover in front of a mirror, and the words “Lonely Hearts” on the drum read, “1 ONE 1 X HE DIE 1 ONE 1”, as you can see very clearly below. It’s so obvious, folks.

So happy birthday to you, Sir Paul McCartney, whoever you are!

Which brings us to this selection of cover versions of songs from Sgt Pepper’s, in the proper sequence. The selection is eclectic, yet it all flows. You’d expect otherwise from a sequence that goes from psychedelic rock of Jimi Hendrix (recorded in concert in Stockholm) to bluegrass legend Earl Scruggs to soul singer Natalie Cole to rockers Status Quo to old comedian George Burns to folkie Richie Havens and so on. And still, it all fits together well. It helps that Scruggs isn’t banjoing the hell out of With A Little Help From My Friends, and that Natalie Cole rocks harder than the Quo, who sound more like Burns. On the LP, the closing song is the crowning glory. The same might be said here of War’s epic take on A Day In The Life.

I have added covers of Strawberry Fields and Penny Land to the mix. The best cover of the former is that by Richie Havens, but he already features with She’s Leaving Home. In any case, Havens’ version has featured before on one of the many mixes of Beatles covers.

Coming in at under an hour, the mix fits on a standard CD-R. Covers are included. PW in the comments section (the purpose of which is not really to declare passwords but for readers to say something).

1. Jimi Hendrix Experience – Sgt. Pepper’s Lonely Hearts Club Band (1968)
2. Earl Scruggs – With A Little Help From My Friends (1971)
3. Natalie Cole – Lucy In The Sky With Diamonds (1978)
4. Status Quo – Getting Better (1976)
5. George Burns – Fixing A Hole (1978)
6. Richie Havens – She’s Leaving Home (1968)
7. Eddie Izzard – Being For The Benefit Of Mr. Kite (2007)
8. Sonic Youth – Within You Without You (1989)
9. Claudine Longet – When I’m Sixty-Four (1967)
10. Fats Domino – Lovely Rita (1968)
11. Micky Dolenz – Good Morning Good Morning (2012)
12. Stereophonics – Sgt. Pepper’s Lonely Hearts Club Band (Reprise) (2007)
13. War feat. Eric Burdon – A Day In The Life (1976)
14. Peter Gabriel – Strawberry Fields Forever (1976)
15. Amen Corner – Penny Lane (1969)

GET IT!

More great Beatles stuff:
Beatles Recovered: A Hard Day’s Night
Beatles Recovered: Beatles For Sale
Beatles Recovered: Help!
Beatles Recovered: Rubber Soul
Beatles Recovered: Revolver
Wordless: Any Major Beatles Instrumentals
Covered With Soul Vol. 14 – Beatles Edition 1
Covered With Soul Vol. 15 – Beatles Edition 2

Any Major Beatles Covers: 1962-66

Any Major Beatles Covers: 1967-68
Any Major Beatles Covers: 1968-70
Any Bizarre Beatles
Beatles – Album tracks and B-Sides Vol. 1
Beatles – Album tracks and B-Sides Vol. 2
Beatles Reunited: Everest (1971)
Beatles Reunited: Live ’72 (1972)
Beatles Reunited: Smile Away (1972)

Categories: Beatles, Covers Mixes Tags:

Any Major Springsteen Covers

April 27th, 2017 12 comments

 

When I was 14 I heard Hungry Heart on the radio. It was familiar and yet unlike any other sound I had heard. Looking back, I think it was the keyboards, which I still think are key to giving the E Street Band that distinctive sound (along with Max Weinstein’s booming drumming and, of course, Clarence’s sax). So I heard Hungry Heart and straight after school on a snowy day in February 1981 I rushed to town to find the new LP by this guy Springsteen. On my way home on the bus I could hardly wait to play it. As I held my new purchase, I liked the look of the face that filled the cover. This guy looked like a rock ‘n’ roll Al Pacino. Justice for all!

But before I could play the The River, I had an afternoon appointment with the optician who proceeded to shine a light into my eyes that virtually blinded me for a few hours. How auspicious that on the day my relationship with Bruce Springsteen began, I was blinded by the light.

I played sides 1 and 2 of The River to death. I rarely played the second disc. That first disc was perfect. With time I would become familiar with Bruce’s four previous albums, and come to regard Darkness On The Edge Of Town as one of the greatest LPs ever made. My loyalty to Springsteen began to waver in the 1990s, in as far as I didn’t rush out to buy every new album. But I have most of them.

So I was excited to read Springsteen’s autobiography. My biggest problem with it was the title. Could nobody come up with something less predictable than Born To Run? I like to think the title “Cars And Girls” would have been a great, even if very belated, riposte to the cutting Prefab Sprout song of that title from 1988. But that is my biggest gripe.

True, Bruce at times exceeds the waxing lyrical, and when he goes fan boy with CAPS LOCK switched on he sounds more like his fawning friend Bono than the poet laureate of a generation. But that’s minor quibbling. Born To Run is a welcome extension of the long prologues to songs in his concerts (usually The River). He is at once fully aware of his genius as he is also genuinely self-deprecating. Here is a man who knows his strengths and his limitations, and how to balance them. He knows his value and has no need for false modesty, even when he explains why he took the decision to be the boss of his backing band, the E Street Band. Incidentally, he says that he doesn’t like the nickname “The Boss”, much as Sinatra hated being called “Chairman of the Board”. I wonder what Bono calls Springsteen…

Born To Run mostly confirms that with Bruce, what you see is indeed what you get…mostly. I didn’t know about his battles with depression, and commend him for speaking about them with such honesty. I did know that Springsteen is a funny guy. Some of his songs are good comedy; take, for example, Sherry Darling. The book has some laugh-out-loud moments, such as when he describes his moves with Courtney Cox in the Dancing In The Dark video as “white-man boogaloo” and “dad dancing”.

Springsteen mentions a few memorable concerts he has played. To my delight, all three Springsteen gigs I have attended are included. His Wembley concert on 4 July 1985 might be the best of any act I have seen.

But I don’t want to write a book report on Born To Run, much as I recommend it. It rather serves as an intro to the mix I am presenting here: of covers of Springsteen songs. And it might seem easy to cover Springsteen. Manfred Mann’s Earth Band did so with Blinded By The Light. Patti Smith had a hit with Because The Night, and The Pointer Sisters with Fire. But Mann had his hit before Springsteen was famous, and our man hadn’t yet recorded the Smith or Pointer Sisters hits (the latter itself a cover of a record by Springsteen pal Robert Gordon, who sang it like Elvis might have).

It’s quite different covering Springsteen songs after Springsteen has recorded them, almost invariably producing the definitive version (differently to Bob Dylan). That is, I suppose, why so few dare to do that. It’s a risk, and it doesn’t always pay off. So, in absence of an abundance of any more quality choices, there most certainly will be no second mix of Springsteen covers.

As ever, the mix is timed to fit on a standard CD-R and includes home-bossed covers. PW in comments.

1. Frankie Goes To Hollywood – Born To Run (1984)
2. Nils Lofgren – Wreck On The Highway (1997)
3. The Band – Atlantic City (1993)
4. The Hollies – 4th Of July Asbury Park (Sandy) (1975)
5. Everything But The Girl – Tougher Than The Rest (1992)
6. Emmylou Harris – The Price You Pay (1981)
7. Cowboy Junkies – Thunder Road (2004)
8. Justin Townes Earle – Glory Days (2014)
9. John Wesley Harding – Jackson Cage (1997)
10. Raul Malo – Downbound Train (2000)
11. Patty Griffin – Stolen Car (2001)
12. Townes Van Zandt – Racing In The Streets (1992)
13. Richie Havens – Streets Of Philadelphia (1997)
14. Minnie Driver – Hungry Heart (2004)
15. Greg Kihn – For You (1977)
16. David Bowie – It’s Hard To Be A Saint In The City (1989)
17. PJ Proby – I’m On Fire (1990)
18. Natalie Cole – Pink Cadillac (1987)
19. Big Daddy – Dancing In The Dark (1985)
20. The Flying Pickets – Factory (1984)

GET IT! (https://rg.to/file/9d72bf3c466f0978e87c4c7bd38ce720/springs.rar.html)

More Songwriter Collections

More Mixed CD-Rs

Categories: Covers Mixes, Mix CD-Rs, Songwriters Tags:

Any Major Chuck Berry Covers

March 23rd, 2017 26 comments

Rock ‘n’ roll was invented when Marty McFly’s 1980s guitar solo of Johnny B Goode compels Marvin Berry to phone his cousin Chuck for inspiration for the new sound the latter was seeking. The obituaries for Chuck Berry noted his huge contribution to the rise of rock ‘n’ roll. Along with Ike Turner — another nasty individual who, like Berry, is best remembered only for his music — Chuck Berry is often cited as Exhibit A in the claim that rock ‘n’ roll is the white man having stolen the music of the black man.

The argument has merit in some ways — the many hit cover versions by white artists of tracks first recorded by black artists or the exploitation of black musicians by record companies in the ’50s being cases in point. But it doesn’t hold true for the development of rock ‘n’ roll as a musical genre, which from the start was subject to a broad sweep of influences and served as a broad church of musical styles.

And that finds concrete expression in Chuck Berry’s debut hit Maybelline, the record some regard as the birth of rock ‘n’ roll as a thing. And in a way it was: Maybelline was the first rock ‘n’ roll record performed by a black musician to break into the Billboard Top 10. Berry himself said that he had based Maybellene on country legend Bob Wills’ vocal version of the traditional fiddle number Ida Red, recorded in 1938. The foundation of Maybelline was country, but the building was rhythm and blues. In varying formulas, that was the architecture of rock ‘n’ roll. Of course, Wills’ Western Swing sound was itself a fusion — the white music we now call country incorporating black musical forms — which led Wills to claim that he did rock ‘n’ roll two decades before anyone, but that’s another story.

The idea that rock ‘n’ roll started as a “big bang”, ascribable to individuals, or a select groups of individuals, or even a particular point in time, is absurd. The genre, which itself is so diffuse, was the result of a relatively slow evolution. Music that sounded like rock ‘n’ roll was already made more than a decade before Maybelline or Rocket 88. Just listen to Buddy Jones’ Rockin’ Rollin’ Mama from 1939 on A History of Country Vol. 3: Pre-war years – 1937-41.

My proposition is that rock ‘n’ roll wasn’t so much a musical genre than a social movement. And for that a series of big, small and tiny bangs were needed. Chuck Berry being the first black R&B musician to cross over into the Billboard charts was one such seismic moment. Rock Around The Clock and The Blackboard Jungle, Tutti Frutti, Elvis on Ed Sullivan, perhaps even the death of James Dean were others.

Chuck Berry, influencing some white kid in England…or Hill Valley.

So Chuck Berry of course does occupy a central place in the history of rock ‘n’ roll. And other than Elvis, a good case can be made that Berry most influenced the post-war kids who would lead the British invasion in the 1960s — though he was by no means the only one, so the equation that without Berry there’d have been no Beatles or Stones is poor arithmetic.

Unlike Elvis, Berry wrote his own songs, and this is the subject of this mix: 26 covers of tracks written by Chuck Berry between 1954 and 1970 (the mix is a result of me taking the bait from regular reader and radio presenter Martin). What is striking is how few black artists covered Chuck Berry. On this mix I count three. Three other shortlisted covers by black artists — Wilson Picket, Robert Cray and Aaron Neville — didn’t make the cut. Similarly, very few women covered Berry (which the old misogynist might have been pleased about). Which raises the question: Is Chuck Berry music the soundtrack of white maleness? Answers on a postcard, please.

Of my joint-favourite Berry songs, one is covered as one would expect it and as it has to be by the Beach Boys. The other, however, sounds nothing like the original. Taj Mahal does interesting things to Brown-Eyed Handsome Man, though I still prefer the original. I never had much of an opinion either way of Too Much Monkey Business, but Leon Russell’s version here is exquisite — one of the few instances where the cover of a Chuck Berry song is much better than the original.

My choice for the cover of Memphis, Tennessee was obvious — even if I still like Johnny Rivers’ take the best — and there was only ever one choice for Rock And Roll Music. I expect that here and there somebody will regret that I left out some song or other (I’m adding on four bonus tracks that very narrowly didn’t make it on to the CD-R), but one song that I was not going to leave out was the b-side for Maybelline, covered here by Trini Lopez — on the title of which Chuck is declaring his future intent.

Alas, I found no suitable cover of a Chuck Berry song by his lyrical heir, Bruce Springsteen. But I can recommend that, if you are Springsteen fan, you join in the fun with the crowd in Leipzig, Germany, in 2013 on You Can Never Tell, the Berry song that seems to have been written for Springsteen and his E Street Band.

As always, the mix is timed to fit on a standard CD-R and includes home-duckwalked covers. PW in comments.

1. Electric Light Orchestra – Roll Over Beethoven (1972)
2. The Beatles – Rock And Roll Music (1964)
3. The Rolling Stones – Come On (1963)
4. Elvis Presley – Memphis, Tennessee (1963)
5. Trini Lopez – Wee Wee Hours (1965)
6. Marty Robbins – Maybelline (1955)
7. Ernest Tubb – Thirty Days (To Come Back Home) (1955)
8. Linda Ronstadt – Back In The USA (1978)
9. Emmylou Harris – (You Can Never Tell) C’est La Vie (1977)
10. George Thorogood & The Destroyers – You Can’t Catch Me (1988)
11. Dave Edmunds – Dear Dad (1982)
12. The Animals – Around And Around (1964)
13. The Troggs – The Jaguar And The Thunderbird (1966)
14. The Beach Boys – School Day (Ring! Ring! Goes The Bell) (1980)
15. Slade – I’m A Rocker (1981)
16. Status Quo – Carol (1981)
17. Rod Stewart – Sweet Little Rock ‘n’ Roller (1974)
18. David Bowie – Almost Grown (1972)
19. Juicy Lucy – Nadine (1969)
20. Humble Pie – No Money Down (1974)
21. Taj Mahal – Brown-Eyed Handsome Man (1975)
22. Leon Russell – Too Much Monkey Business (1992)
23. Dr. Feelgood – I’m Talking About You (1976)
24. Luther Johnson – Little Queenie (1975)
25. Jimi Hendrix – Johnny B. Goode (1970)
26. Redwing – Bye Bye Johnny (1972)
Bonus Tracks: Conway Twitty – Reelin’ And A Rockin’ (1961)
Ray Manzarek – Downbound Train (1974)
Carlos Santana – Havana Moon (1983)
Levon Helm – Back To Memphis (2011)

GET IT!

More Songwriter Collections
More Covers Mixes

More Mix CD-Rs

Categories: Covers Mixes, Mix CD-Rs, Songwriters Tags:

Any Major Bob Dylan Covers Vol. 3

March 9th, 2017 9 comments

It has taken a while for Volume 3 of the Dylan covers to appear — longer than it took for Dylan to respond to the Nobel Literature committee. As it stands, there will be two more Dylan cover mixes after this.

The fun thing about compilations of Dylan covers is to play off the featured versions against the originals: which one is better than the other? In some cases it’s a difficult exercise because the respective versions have their own merits. How do you compare Dylan with Tina Turner?

But for me the surprise winner in this game is Mike Stanley, who turns one of my least favourite Dylan arrangements (and I know I’ll make many eternal enemies and absolutely no friends for thinking so), Subterranean Homesick Blues, into the great song it is. Stanley’s eponymous 1972 album featured the likes of Joe Walsh, Todd Rundgren, Joe Vitale and Patti Austin, but somehow he failed to make it really big in the mainstream. He is still recording, but is also a popular DJ in Ohio, and appeared as himself on The Drew Carey Show.

Of course, many Dylan songs are so quintessentially Dylan that they cannot be bettered, no matter how good the cover is. Like A Rolling Stone, covered here with imagination by Major Harris, is one such song. Check out the Song Swarm of it; there are many good attempts, but Dylan inhabits the song so much that everything else is just a copy. Frankie Valli doesn’t even try to give Queen Jane Approximately his own voice: he sings it like a Dylan parody.

Dylan recorded Queen Jane Approximately on the same day as Just Like Tom Thumb’s Blues, which features here in Gordon Lightfoot’s version (a face-off Dylan wins handily). Lightfoot scored a #3 hit with it Canada in 1965, shortly after the song appeared on Highway 61 Revisited. Bob Dylan is a great Lightfoot fan, having once said that when he heard a Lightfoot song, he wished “it would last forever”.

As always, the mix is timed to fit on a standard CD-R and includes home-strummed covers. PW in comments.

1. Randy Crawford – Knockin’ On Heaven’s Door (1989)
2. Major Harris – Like A Rolling Stone (1969)
3. Freddie King – Meet Me In The Morning (1975)
4. Blood, Sweat & Tears – Down In The Flood (1972)
5. Michael Stanley – Subterranean Homesick Blues (1972)
6. Indigo Girls – Tangled Up In Blue (1995)
7. Townes Van Zandt – Man Gave Names To All The Animals (1992)
8. Chris Whitley – Spanish Harlem Incident (2000)
9. Mary Lou Lord – You’re Gonna Make Me Lonesome When You Go (2002)
10. Cowboy Junkies – If You Gotta Go, Go Now (1992)
11. Moon Martin – Stuck Inside Of Mobile (With The Memphis Blues Again) (1993)
12. George Harrison – If Not For You (1970)
13. The Youngbloods – I Shall Be Released (1972)
14. Waylon Jennings – I Don’t Believe You (1970)
15. The Four Seasons – Queen Jane Approximately (1965)
16. Staple Singers – Masters Of War (1964)
17. Gordon Lightfoot – Just Like Tom Thumb’s Blues (1965)
18. Tina Turner – Tonight I’ll Be Staying Here With You (1974)
19. The O’Jays – Emotionally Yours (Gospel Version) (1981)
20. The Angels Of Light – I Pity The Poor Immigrant (2005)

GET IT!

More Dylan covers
More Songwriter Mixes
More Mix-CD-Rs

Any Major Bob Dylan Covers Vol. 2

December 1st, 2016 14 comments

any-major-dylan-covers-vol-2

Only a few weeks after I posted the Any Major Dylan Covers Vol. 1 Mix, the Nobel committee announced the Bobster as this year’s literature laureate. Coincidence? I doubt it. The only logical conclusion we can draw is that the folks at Nobel HQ is Stockholm are keen readers of Any Major Dude With Half A Heart, and that my mix persuaded them to give Dylan the gong. Bob, it seems, does not really want the award, and he is unlikely to thank me for my part in his Nobel Prize award. If only I could please everybody…

Anyhow, the first mix attracted a fair number of comments. Some of them addressed one of the great debates in pop history: is Bob Dylan’s voice an instrument of art or is it a punishing aural assault? It’s the kind of question that provokes internecine warfare even between Dylan fans.

My view? I think Dylan’s voice is, in itself, quite unpleasant. In most other artists, that nasal whine might be considered objectively offensive — even Trump supporters, who enthusiastically embrace the objectively offensive, would find it offensive. His lower register on the country-flavoured albums — on songs like Lay Lady Lay and Just Like A Woman — is more tolerable, but you’d be hard-pressed call it beautiful.

But the tone of his voice, however you perceive it, is not really important. Indeed, one can acquire a taste for it, just as people acquire a taste for things as revolting as tequila, broccoli or mayonnaise. What is important is how Bob Dylan uses that voice. At his best, Dylan doesn’t so much sing his songs as he inhabits them — and that is the mark of a great singer. In so many of his songs, his vocals not only drive the narrative, but they are a character in it.

That works best when Dylan has a stake in the songs he sings. There are very few singers who can spit venom quite as Dylan. In Hurricane, that anger is on the verge of boiling over; but this is not just anger. With his delivery, with the encunciation of single syllables, he also communicates an utter contempt for the system which he is singing about. The effect is devastating; no other singer could do Hurricane to such great effect as Dylan does it. What does it matter that his voice isn’t lovely? Likewise, the menacing derision for the subjects of his contempt which he conveys in his vocals on mean-spirited songs like Positively 4th Street, Ballad of A Thin Man or Like A Rolling Stone hits you in the gut. Not many singers can do that.

dylan1-photocopy

Dylan might have an ugly voice, but he has an extraordinary way of delivery — especially, as I’ve said, when he is invested in the words he is singing (which might explain why few of his covers of other people’s music are particularly outstanding). To be sure, there are also many Dylan songs which are immeasurably improved by cover versions.

One such song is All I Really Want To Do, from Dylan’s 1964 LP Another Side of Bob Dylan. I really like Dylan’s version, especially the idea of a songwriter laughing at his own lyrics. But in The Byrds’ version, a comprehensive reinvention, the song becomes a thing of special beauty. As does the lovely Every Grain Of Sand, which is okay when sung by Dylan, but sublime in Emmylou Harris’ treatment.

And this is the genius of Bob Dylan’s music: as it is with Beatles songs, they can be interpreted and reinvented them to good effect in so many ways. This second collection of Dylan covers testifies to this.

Incidentally, in the first post of Dylan covers I promised three mixes. Clearly, that is not enough. I’m up to five mixes now.

As always, the mix is timed to fit on a standard CD-R and includes home-strummed covers. PW in comments.

1. The Band – When I Paint My Masterpiece (1971)
2. The Byrds – All I Really Want To Do (1965)
3. Simon & Garfunkel – The Times They Are A-Changin’ (1964)
4. Nina Simone – Ballad of Hollis Brown (1965)
5. Sam Cooke – Blowin’ In The Wind (1964)
6. Solomon Burke – Maggie’s Farm (1965)
7. Billy Preston – She Belongs To Me (1969)
8. The Flying Burrito Brothers – To Ramona (1971)
9. The Hollies – I Want You (1969)
10. The Piccadilly Line – Visions Of Johanna (1967)
11. Arlo Guthrie – When The Ship Comes In (1972)
12. New Riders Of The Purple Sage – You Angel You (1974)
13. Merle Haggard & Willie Nelson – Don’t Think Twice, It’s Alright (2015)
14. John Mellencamp – Farewell, Angelina (1999)
15. Steve Earle & Lucia Micarelli – One More Cup of Coffee (Valley Below) (2012)
16. Everly Brothers – Abandoned Love (1985)
17. Thea Gilmore – I Dreamed I Saw St. Augustine (2003)
18. Jennifer Warnes – Sign On The Window (1979)
19. Leon Russell – It Takes A Lot To Laugh, It Takes A Train To Cry (1971)
20. Joan Baez – One Too Many Mornings (1968)
21. Caravelli Orchestra – Wigwam (1977)

GET IT: https://rapidgator.net/file/71f4e6667055816d2c7244924157ca87/Dylancov_2.rar.html

More Dylan covers
More Songwriter Mixes
More Mix-CD-Rs

Any Major Cohen Covers

November 17th, 2016 24 comments

any-major-cohen-covers

At this year’s Emmy awards in September, some breathy, note-swallowing songstress sang Leonard Cohen’s magnificent though now overcooked Hallelujah over the section listing the year’s departed TV people. I don’t know why she sang that particular song, but it didn’t cross my mind that within a couple of months, Cohen himself would find inclusion on In Memoriam lists.

Cohen himself knew, though. And he checked out the day before Americans rejected notions of respect and decency. His death on November 7 was made public only four days later.

In April this year, Marianne Ihlen (née Jensen), Cohen’s muse who was immortalised in his song So Long Marianne, died. As Marianne lay dying of leukemia, Cohen wrote her a letter. In it he said: “Well, Marianne, it’s come to this time when we are really so old and our bodies are falling apart and I think I will follow you very soon. Know that I am so close behind you that if you stretch out your hand, I think you can reach mine. And you know that I’ve always loved you for your beauty and for your wisdom … but now, I just want to wish you a very good journey. Goodbye old friend. Endless love, see you down the road.”

Now dab dry those most eyes, and take delight in this mix of covers of Leonard Cohen’s songs. It is a strange thing, but Cohen is not really widely covered, a few select songs aside. Often the same artists would return to the Cohen songbook. And yet, I think his songs are very coverable indeed, as this mix shows.

The most covered song in the Cohen canon is 1984’s Hallelujah. Jeff Buckley’s version is the standard, of course, but I also like the two Shrek versions, John Cale’s in the film, and Rufus Wainwright’s on the soundtrack. Some versions are awful (apparently even Michael F. Bolton has molested the song). Here I’ve gone for Brandi Carlile’s lovely version — she is one of the finest contemporary singers — which was recorded live with The Seattle Symphony (the live album, Live at Benaroya Hall, is superb). Newsweek ranked it at #7 in its entertaining list of Top 60 versions of Hallelujah.

A few singers here are people with whom Cohen had close relationships. He was a mentor to Anjani Thomas and to some extent to Jennifer Warnes (they also wrote some songs together).  Judy Collins was his mentor. When Cohen was still a struggling poet-songwriter with no plans to become a singer, his fellow Canadian folkie recorded a couple of his compositions — and had a hit with Suzanne. I wrote about it in The Originals.

Cohen had some success with his latter albums, stepping in the gerontophile path smoothed by Johnny Cash. There is something about the wisdom of songs being delivered by a worn voice. Three Cohen songs are covered here by such worn voices; those of Johnny Cash, Marianne Faithful and Tom Jones. The latter nails his song especially.

I was going to run the second volume of the Bob Dylan covers this week, to follow up on the first mix. That will now have to wait.

As always, the mix is timed to fit on a standard CD-R and includes home-poetried covers. PW in comments.

1. Nick Cave – I’m Your Man (2006)
2. Pixies – I Can’t Forget (1991)
3. Joe Cocker – First We Take Manhattan (1999)
4. Lloyd Cole – Chelsea Hotel (1991)
5. Johnny Cash – Bird On A Wire (1994)
6. Roberta Flack – Hey, That’s No Way To Say Goodbye (1969)
7. Françoise Hardy – Suzanne (1970)
8. Bell + Arc – So Long, Marianne (1971)
9. Judy Collins – Famous Blue Raincoat (1971)
10. Pearls Before Swine – Seems So Long Ago, Nancy (1971)
11. Esther Ofarim – You Know Who I Am (1969)
12. Linda Ronstadt & Emmylou Harris – Sisters Of Mercy (1999)
13. Brandi Carlile – Hallelujah (2011)
14. Harvey Milk – One Of Us Cannot Be Wrong (1996)
15. Anjani Thomas – Blue Alert (2006)
16. Tom Jones – Tower Of Song (2012)
17. Marianne Faithfull – Going Home (2014)
18. Jennifer Warnes – A Singer Must Die (1986)
Bonus track: Madeleine Peyroux – Dance Me To The End Of Love (2004)

GET IT!

More Songwriter Mixes

More Mix CD-Rs

Categories: Covers Mixes, Mix CD-Rs, Songwriters Tags:

Any Major Bob Dylan Covers Vol. 1

September 15th, 2016 20 comments

Any Major Dylan Covers Vol. 1

A few years ago a reader suggested that a mix of cover versions of sings by Bob Dylan might alleviate the discomfort many feel at hearing the great songwriter’s voice. As a fan of cover versions I was keen on the idea. So I created a Dylan covers folder and began collecting. Something like eight years later I’m ready to present a series of Any Major Dylan Covers.

This will be a series of three CD-R length collections — 62 songs plus three bonus tracks. As always, I set myself strict rules: no artist may feature twice, and no song may be repeated — except one, which will end the series.

Since these are supposed to be covers of Dylan songs, he must have released the songs first. That means that those tracks he wrote for others, or which others recorded before he released them, don’t qualify — except two, which I’ll address in a moment. A song like Blowin’ In The Wind might have been recorded first by others (Dylan historians have no consensus on that), but it is so essentially a Dylan song that it can’t be excluded.

Dylan never released Wanted Man before it was first recorded by Johnny Cash on the St Quentin live album. So it isn’t really a cover. But it broke my heart to consider not including a Dylan/Cash hybrid, so — in best Cash fashion — rules be damned. In the spoken intro Cash says he wrote the song with Dylan at the Cash home, but Dylan has the sole writing credit. Anyway, the great list-song writer has his lyrics performed by the great list-song singer.

The first volume kicks off with the best of all Dylan covers: Jimi Hendrix’s All Along The Watchtower. Hendrix had received a pre-release acetate of Dylan’s recording, and his version was recorded only two months after Dylan’s. From there on it was Jimi’s song. Bob was cool about it. In the liner notes to his Biograph collection, he wrote: “Strange how when I sing it, I always feel it’s a tribute to him in some kind of way. I liked Hendrix’s record, and ever since he died, I’ve been doing it that way.”

But Dylan has also said that the version of any of his songs he treasures most is Elvis Presley’s 1966 interpretation of Tomorrow Is A Long Time, a song Dylan recorded in 1962 but didn’t release until 1971 as a live track from eight years earlier. So Elvis’ version isn’t really a Dylan cover, but rather of the folk singer Odetta’s recording.

But how great is Kris Kristofferson singing Quinn The Eskimo?

Which brings me to two acts who are notably excluded in this series: Odetta and Peter, Paul & Mary had a great reputation for singing Dylan songs (Odetta, in turn, was something of a mentor to the budding songwriter from Minnesota). Their exclusion was not deliberate: where I had candidate songs by them, there were others which were a better fit.

Mr Tambourine Man is covered here by Johnny Rivers — so I’ll leave you to wonder which Dylan cover by The Byrds will feature in this series? And what will we have Joan Baez singing? And whose version of Blowin’ In The Wind will feature?

The mix is timed to fit on a standard CD-R and includes home-busked covers. PW in comments (you are welcome to leave a message there).

1. The Jimi Hendrix Experience – All Along The Watchtower (1968)
2. Merry Clayton – Rainy Day Women #12 & 35 (1975)
3. Elvis Presley – Tomorrow Is A Long Time (1966)
4. Johnny Cash – Wanted Man (1969)
5. Hoyt Axton – Lay Lady Lay (1975)
6. Marshall Crenshaw – My Back Pages (1999)
7. Jeff Tweedy – Simple Twist Of Fate (2007)
8. Bruce Springsteen – Chimes Of Freedom (1988)
9. Kris Kristofferson – Quinn The Eskimo (2012)
10. Emmylou Harris – Every Grain Of Sand (1995)
11. The Pretenders – Forever Young (1994)
12. Richie Havens – Just Like A Woman (1968)
13. Them – It’s All Over Now, Baby Blue (1966)
14. The Grass Roots – Mr. Jones (Ballad Of A Thin Man) (1966)
15. Johnny Rivers – Mr. Tambourine Man (1965)
16. The Turtles – It Ain’t Me Babe (1965)
17. Stereophonics – Positively 4th Street (1999)
18. Eels – Girl From The North Country (2006)
19. Lloyd Cole – You’re A Big Girl Now (2001)
20. Josh Kelley – To Make You Feel My Love (2004)
21. Norah Jones – I’ll Be Your Baby Tonight (2002)
Bonus track: Ani DiFranco – Hurricane (2000)

GET IT!

More Songwriter Collections
More Dylan covers

More Mix CD-Rs

Beatles Recovered: Revolver

July 28th, 2016 11 comments

Revolver Recovered

August 5 will see the 50th anniversary of the release of The Beatles’ seminal Revolver album. If Rubber Soul was the moment when the besuited moptops handed over the Beatle baton to the more experimental stoners, Revolver was the moment the stoners became adults, doing things on their own terms.

George Harrison’s I Want To Tell you is perhaps most emblematic of that progression. The melody could have been on Rubber Soul, or even Help!, but the arrangement and especially the lyrics absolutely couldn’t.

The first song which the Beatles recorded for the album was one that set the scene for what innovation was to come. Tomorrow Never Knows, which was born almost exactly four months before Revolver’s release (on April 6), was a radical departure from the pure, relatively uncomplicated pop and rock & roll which the band had produced just a year earlier on Help (which was released on August 6, 1965, almost exactly one year before Revolver. Let that timeline sink in!). The song was subject to such experimentations as tape loops and running the vocals through a speaker normally used for the Hammond organ, plus Ringo using a novel drum-pattern.

The cover of that song here is a sparse affair from 1970 by the blues/R&B singer Junior Parker, recorded a year before his death at the age of 39 during surgery for a brain tumor.

Harrison had already experimented gingerly with Indian music on Rubber Soul. Here, on Love You To, he went full Indian — I guess it must have been even more startling to Revolver’s first listeners than Tomorrow Never Knows. It is covered here by the Don Randi Trio, who recorded the whole of Revolver in their jazz interpretation, within weeks of the album’s release. Their version respects the original’s Indian core.

Revolver had several moments of genius. Eleanor Rigby in particular is a masterpiece, lyrically and musically (I’ll leave it to you whether Ray Charles’ interpretation trumps the original). McCartney’s other two ballads on the album — For No One and Here, There And Everywhere — are remarkable as well. Emmylou Harris features here with her gorgeous take on the often neglected For No One, from 1975’s Pieces Of The Sky LP. She might also have been included for her version of Here, There And Everywhere, recorded the same year for the Elite Hotel album. That song is covered to equally lovely effect by that other country woman of crossover appeal, Bobbie Gentry.

Lennon was more hit-and-miss on Revolver than Paul. Tomorrow Never Knows and I’m Only Sleeping tower above the serviceable but usually not unduly overlooked Dr Robert, And Your Bird Can Sing and She Said She Said, decent tracks though they are. Dr Robert was the most difficult song to find a cover for. Here it is done by an Italian band called Slow Feet (an allusion to Eric Clapton’s nickname Slow Hand), which specialises in covering classic rock songs.

In don’t know why Paul’s excellent Good Day Sunshine doesn’t receive more love. Roy Redmond’s southern soul cover reveals a depth to a song which in The Beatles’ version is “just another” Beatles pop song.

Critics don’t love Yellow Submarine, written by Paul specifically for Ringo and deliberately as a children’s song. It ought to have been only a b-side (as it also was, to Eleanor Rigby), not an album track. But while the purists hate it, the public loved it, as would be the case two long, long years later with the much maligned yet ferociously popular Ob-La-Di, Ob-La-Da.

The Pickin’ On Picks recording was the only feasible version of Yellow Submarine that I could include here (though I include the 1976 Sesame Street version — three monsters harmonising in monstrous ways — as a bonus). The Pickin’ On Picks was a 1990s project whereby session musicians would render the catalogue of a particular artist in the bluegrass genre. Cross-genre appropriation sometimes works well, and sometimes does so only in small doses. This is such a case: one or two songs at a time are great; more than that is quite enough.

The obvious choice for a cover of Got To Get You Into My Life might have been that of Earth, Wind & Fire, or perhaps that by Thelma Houston, which surely inspired the EWF arrangement. That itself might have borrowed from the one used here, by Blood, Sweat & Tears. The EWF version previously featured on Any Major Beatles Covers: 1962-66; the Thelma Houston version you can get on the Jim Gordon Collection Vol. 2.

Naturally the mix fits on a CD-R, and includes home-renovated covers. PW in comments.

1. The Loose Ends – Tax Man (1966)
2. Ray Charles – Eleanor Rigby (1968)
3. Lobo – I’m Only Sleeping (1974)
4. Don Randi Trio – Love You To (1966)
5. Bobbie Gentry – Here, There And Everywhere (1968)
6. The Pickin’ On Picks – Yellow Submarine (1995)
7. Hedge & Donna – She Said She Said (1971)
8. Roy Redmond – Good Day Sunshine (1967)
9. Spanky & Our Gang – And Your Bird Can Sing (1967)
10. Emmylou Harris – For No One (1975)
11. Slowfeet – Doctor Robert (2006)
12. Chris Stainton & Glen Turner – I Want To Tell You (1976)
13. Blood, Sweat & Tears – Got To Get You Into My Life (1975)
14. Junior Parker – Tomorrow Never Knows (1970)

GET IT!

More great Beatles stuff:
Beatles Recovered: A Hard Day’s Night
Beatles Recovered: Beatles For Sale
Beatles Recovered: Help!
Beatles Recovered: Rubber Soul
Wordless: Any Major Beatles Instrumentals
Covered With Soul Vol. 14 – Beatles Edition 1
Covered With Soul Vol. 15 – Beatles Edition 2

Any Major Beatles Covers: 1962-66

Any Major Beatles Covers: 1967-68
Any Major Beatles Covers: 1968-70
Any Bizarre Beatles
Beatles – Album tracks and B-Sides Vol. 1
Beatles – Album tracks and B-Sides Vol. 2
Beatles Reunited: Everest (1971)
Beatles Reunited: Live ’72 (1972)

Categories: Beatles, Covers Mixes Tags:

Great Covers: Ziggy Stardust (1972)

January 11th, 2016 6 comments

Ziggy

[To mark the passing of David Bowie, I repost this from October 2013]

There is a sweet irony in the cover picture of The Rise and Fall of Ziggy Stardust and the Spiders from Mars: the alien superstar is photographed in a seedy sidestreet, not a glittering glamour spot, of London’s West End. Instead of shining brightly in a metallic science fiction wonderland, the monochrome photo is hand-coloured in the way of postcards from the turn of the last century.

The cover holds not the promise of the story we are coming to hear, but its denouement: Ziggy has come back down to earth as David Bowie. There’s trash, there’s rain, there’s a bin, there’s the sign of the furrier K. West, where the fiction of left-handed Ziggy and the fact of Bowie, holding his guitar right-handed, come together.

Or that’s how I choose to see it. The story of Ziggy Stardust is vague enough to let you project your own ideas on it. In fact, by writing about the cover, by stripping away a veneer of its mystique, I may be depriving you, if you do not know the story of the cover, of your ability to freely project. Read on at your own peril.

What we will find is that the story of the cover is rather… ordinary. The photo was taken on a cold January night in 1972 in Soho’s Heddon Street, then an insalubrious sidestreet, but today a fashionable pedestrian zone. The photographer was Brian Ward, who had studio in the street.

He took 17 photos that night, including the back cover shot of Ziggy/Bowie in the telephone booth. The front cover pic was taken at house number 23, under the big sign for K. West. Apparently Bowie turned up (with a posse of two girls), posed for a few minutes, and quickly disappeared into the rainy night, leaving Ward to develop his black-and-white photos.

Did Bowie feel like Ziggy in “Five Years”? “It was cold and it rained and I felt like an actor.”

ziggy-bwThe winning shot was colourised, giving the jumpsuit a blue hue when it was, in fact, green. You can see the jumpsuit in real life on this clip from the Old Grey Whistle Test in February 1972.

Have look at all 17 photos of the session at the Five Years site (from which I’ve borrowed one here). And if you feel that Bowie was wrong as Ziggy, and it should have been your mug on the cover, well, that can be arranged HERE.

As for the signs on the wall? They were for Paquerette Dresses (4th Floor), Ramar Dresses Ltd (3rd Floor), International Wool Secretariat, Cravats Ltd (main entrance), and T.H. Ferris (2nd Floor)

So, to mark the Ziggy cover here’s a mix of Ziggy covers. Every track off the album is performed in sequence by various artists — and two by Bowie. One is from the famous Hammersmith Odeon concert at which he killed off Ziggy Stardust — obviously the final track, “Rock ’n’ Roll Suicide” — the other a new mix of the largely uncovered “Star”. In fact, there’s a third Bowie number: The Arnold Corns was a Bowie project on which he test-drove some Ziggy tracks a year before he gave birth to the alien superstar.

One song on the album, of course, was a cover itself: “It Ain’t Easy” was a Ron Davies song. The cover of that on this mix also precedes Ziggy.

1. The Polyphonic Spree – Five Years (2002)
2. Marti Jones – Soul Love (1986)
3. The Arnold Corns – Moonage Daydream (1971)
4. Leningrad Cowboys – Starman (2006)
5. Three Dog Night – It Ain’t Easy (1970)
6. Seu Jorge – Lady Stardust (2005)
7. David Bowie – Star (40th Anniversary Mix) (1972/2012)
8. Contraband – Hang On To Yourself (1991)
9. Bauhaus – Ziggy Stardust (1982)
10. Red Hot Chili Peppers – Suffragette City (2012)
11. David Bowie – Rock ‘n’ Roll Suicide (live) (1973)

GET IT!
(PW in comments)

 …

Previous great covers

Categories: Album cover art, Covers Mixes, Mix CD-Rs Tags:

Beatles Recovered: Rubber Soul

December 10th, 2015 8 comments

Rubber Soul Recovered - front

The progression of The Beatles from mop tops making uncomplicated pop music to the innovators who blew the minds of their peers was at its most dramatic in the 14-month period during which they proceeded from the fine pop of You’re Going To Lose That Girl on Help (recorded on 19 February 1965) to the psychedelic workout that was Tomorrow Never Knows on Revolver (recorded on 6 April 1966).

The link between those two very different albums, whose releases were separated by exactly a year, was Rubber Soul, which was released 50 years ago on December 3. Rubber Soul recalls Help in tracks like Wait (which had been recorded for Help) or You Won’t See Me or Michelle, and it presages the future with songs like In My Life, Nowhere Man, Drive My Car or Norwegian Wood. And then there is George’s If You Needed Someone, which seamlessly incorporates the old sound and the new.

Remarkably, The Beatles wrote and recorded Rubber Soul under immense time pressure, still writing some of the songs as they were recording. In an age when thoroughly unoriginal bands take two or three years to bring out an album, it seems impossible to grasp that The Beatles began recording Rubber Soul on 12 October, less than two months before the scheduled release date. The first track recorded that day was Run For Your Life. The Rubber Soul recordings ended on 11 November with a highly pressured marathon session. The last full song to be recorded that day was Girl, which Lennon had hastily written.

On top of that, they were expected to write and record two non-album tracks for a single release. These songs turned out to be We Can Work It Out and Day Tripper. Lennon wrote the latter virtually off-the-cuff in the studio; he and Paul called it a “forced” composition. And in between all that, The Beatles were expected to create the annual Christmas record, for distribution on flexi-disc to fan club members.

The strength of Rubber Soul does not reside so much in the songs but in the album’s feel. Here our boys are high on pot, not freaked out by LSD, and it shows in the sound. It is also the most country of Beatles albums. What Goes On is the only country song on the set, but some of the covers here show just how well suited these tracks are for that genre.

Rubber Soul Recovered - back

The best cover here is Johnny Cash’s take on In My Life. Lennon sang the song when he had just turned 25; the song’s wistfulness is measured against the fact that the singer memories are still pretty young. Cash sung the song a year before his death. The ravages of age are reflected in his voice, and he sounds like the tired old man her is, looking back at a rich life where some places and some people have indeed gone and some have changed. I think the great video for Hurt would have been even more potent for this song, which appears on the same album.

The most radical reworking of Rubber Soul’s songs featured here comes right at the top, with the bluesy take on Drive My Car by Humble Pie. It appeared on a 1975 LP, Street Rats, with two other Beatles covers, We Can Work It Out and Rain, as well as a cover of a Beatles cover, Chuck Berry’s Rock & Roll Music.

Nancy Sinatra, appearing here with a Lennon song which the composer despised, also recorded more than one Beatles song. On the Boots LP of 1966, on which Run For Your Life appears (as well the hit song which gave the album its title), she also sang Day Tripper.

Naturally the mix fits on a standard CD-R and includes covers. PW in comments.

1. Humble Pie – Drive My Car (1975)
2. Tangerine Dream – Norwegian Wood (2010)
3. Anne Murray – You Won’t See Me (1974)
4. Randy Travis – Nowhere Man (1995)
5. François Fabrice – Les Garçons Sont Fous (Think For Yourself) (1966)
6. Mindy Smith – The Word (2005)
7. King Curtis – Michelle (1966)
8. Charles River Valley Boys – What Goes On (1966)
9. The Brothers Four – Girl (1966)
10. Steve Earle – I’m Looking Through You (1995)
11. Johnny Cash – In My Life (2002)
12. Connie Evingson – Wait (2003)
13. Roger McGuinn – If I Needed Someone (2007)
14. Nancy Sinatra – Run For Your Life (1966)
Bonus tracks:
Dionne Warwick – We Can Work It Out (1968)
Whitesnake – Day Tripper (1978)

GET IT!

More great Beatles stuff:
Beatles Recovered: A Hard Day’s Night
Beatles Recovered: Beatles For Sale
Beatles Reunited: Everest (1971)
Beatles Reunited: Live ’72 (1972)
Wordless: Any Major Beatles Instrumentals
Covered With Soul Vol. 14 – Beatles Edition 1
Covered With Soul Vol. 15 – Beatles Edition 2

Any Major Beatles Covers: 1962-66

Any Major Beatles Covers: 1967-68
Any Major Beatles Covers: 1968-70
Any Bizarre Beatles
Beatles – Album tracks and B-Sides Vol. 1
Beatles – Album tracks and B-Sides Vol. 2

Categories: Beatles, Covers Mixes Tags: