Close Cover Before Striking - 10 Cover songs worth hearingDec 01 '02 (Updated Apr 21 '05) Write an essay on this topic.The Bottom Line You can never be sure what you're going to get with cover songs, but the ones listed here are sure to be interesting, if nothing else. In the music world, cover songs are always a wild card. Sometimes you get a carbon copy from a band that simply wants to pay tribute to one of their influences. Other times a cover song is performed in an ironic, tongue-in-cheek, almost mocking tone. Occasionally a cover song is clearly just an artist or group messing around with some extra studio time, aspiring to nothing more than a bit of fun. But like any true wild card, a cover song can occasionally pay off and give us so much more than we expect. When we get lucky, an artist or group records a cover song and not only does it justice, but also adds to it. We get an entirely new interpretation of the song, not just another copy. Whether you like the original version or not, cover songs like this are worth a listen, simply because they're so different and unusual. Below is a list of ten such covers that I've chosen, presented in no particular order. Gin and Juice by The Gourds (originally by Snoop Dogg) You may have heard this one already, but been unaware of who provided the cover version. Not too long ago this version became pretty popular on the various file sharing services, but, thanks to the collective ignorance of the internet, a few people assumed that it was Phish providing this country-flavored jam band version of Snoop's gansta anthem. But regardless of who performs it, it's great to hear all about the gansta lifestyle delivered in a laid-back southern drawl over a mandolin and tambourine driven accompaniment that just drips energy and enthusiasm. Plus, hearing the word beyatch sung with a Texan accent should be able to make absolutely anyone smile. Beast of Burden by Buckwheat Zydeco (originally by the Rolling Stones) The original version of this song came out in the late seventies when the Rolling Stones found themselves forced to content with the emerging punk and disco scenes. In an attempt to help redefine their sound, they mixed their traditional rock with a few other sounds. On Beast of Burden, they threw some elements of soul into the mix, creating a conditional love song that proved to be one the best songs the Stones recorded. The original is so well crafted, that it seems unnecessary to do anything with it. Buckwheat Zydeco, though, managed to improve on near-perfection with their Creole interpretation that slows the tempo down and places an accordion in the musical front line. Stanley Dural's vocal interpretation of the lyrics offer a mixture of pain and longing that manages to match Jagger's work on the original, if not exceed it. Iron Man by The Cardigans (originally by Black Sabbath) Anger, rage, and alienation were the main themes of Black Sabbath's classic hard rock song. Ozzy's singing on the original didn't do much to soothe the song's rough edges, either. With an original that had so many grating elements, it's surprising that a cover that manages to turn every aspect of the original around 180 degrees could sound so interesting. Instead of loud, chunky chords laying at the song's foundation, the Cardigans place a gentle, relaxed lounge music groove underneath the vocals. Gone is the instantly recognizeable guitar riff. In its place is some light, jazzy noodling. Perhaps the biggest difference, though, is the sweet, sugary vocals from Nina Persson that take away all of the song's rage, but none of it's creepiness. Brain Damage by the Austin Lounge Lizards (originally by Pink Floyd) There are plenty of ways that people have described Pink Floyd. Psychedelic visionaries. Pretentious egomaniacs. Eerie but thought-provoking experimentalists. Yet, one word that has surely never been used to describe them is "hillbillies." The Austin Lounge Lizards set out to prove that such a word, even if it can't apply to Pink Floyd the group, can at least apply to their music. They use traditional bluegrass instrumentation and arrangements to create a truly unique interpretation of this song of madness. In the process, they crank the tempo up to at least double that of the original, infusing it with an unexpected energy and excitement. This is a version of the song that no one could have expected, but one that is hard not to enjoy. Jump by Aztec Camera (originally by Van Halen) Van Halen is, for better or worse, known as one of the quintessential rock acts out there. Underneath the rough, gritty exterior, however, they had a lot of classic pop elements woven into their songs. Perhaps it is because of these pop undertones that this cover version from the new wave group Aztec Camera works so well. The loud guitars have been stripped away and replaced with some gentle keyboard and acoustic guitar work. The tempo has been lowered considerably, and the vocals are delivered in a soft, deep baritone with none of David Lee Roth's over-the-top antics. With a few violins thrown into the background occasionally, the result is a surprisingly heartfelt ballad. Easy by Faith No More (originally by The Commodores) Even though Faith No More were firmly entrenched in the harder side of the growing alternative music scene of the early nineties, deep down they had a sensitive side, too, as they proved on their cover of this Lionel Ritchie ballad. Of all the songs on this list, this one sticks closest to the original. A soulful piano line supports the song throughout, and the vocals are deep and sensual. Even the occasional harmonies mirror those of the original. The only thing that betrays Faith No More's harder roots is a brazen guitar solo halfway through that still manages to fit with the spirit and the soul of the original song. Here Comes the Sun by Richie Havens (originally by The Beatles) George Harrison's original version of this song was the epitome of subtle, underhanded musicianship with its light, folksy guitar work. Richie Havens, another icon of the sixties, captures the same optimistic spirit of the original, but manages to give the song an entirely different musical feel. Havens practically attacks his acoustic guitar, pushing out loud percussive chords that form the foundation of the song. A few bongos and a little steel guitar help to round out the sound. Haven's voice is deep and soulful, lending the song a sense of wisdom and experience that meshes perfectly with Harrison's lyrics. Black Hole Sun by Steve Lawrence and Eydie Gorme (originally by Soundgarden) Generally, a cover song is performed by a younger artist or band playing an older song that influenced them or has some other significance to them. This is one of the exceptions. Steve and Eydie, fringe members of Frank Sinatra's rat pack, were the archetypical husband and wife vocal duo. Their act developed in the lounges of Las Vegas and helped to define what we now know as lounge music. Here, the duo perform Soundgarden's depressing hit from the mid nineties. In place of angst and rage, though, we get lush, syrupy vocals and a lavish orchestration complete with strings, piano, and muted trumpet. The result is something that might cause grunge rock purists to run away screaming, but it's unusual enough that the rest of enough have to at least give it a listen to know that such a bizarre combination is possible. 1999 by PM Dawn (originally by Prince) Even though I tried to avoid any version of this song as much as I could three years ago, I have to admit that Prince's end of the millennium tune is awfully catchy. The original was energetic and in-your-face. In the hands of PM Dawn, though, the song becomes soft and soulful, with slow, almost whispered lyrics. Muted acoustic chords and jazzy piano improvisation provide the backdrop for song, blending with the lyrics to form something sensual and spiritual. The cover version has all of the optimism and feeling of the original, but presents it in a much more subdued manner that helps to redefine the song. Baby One More Time by Fountains of Wayne (originally by Britney Spears) I'll try to leave my feelings about the teen pop movement of recent years out of the discussion, but I have to say this much: Baby One More Time is a pretty good song that was ruined by giving it to someone too young and inexperienced to fully understand or express the complex emotions involved in the song. The original is just a commercial cash-in that blows so many opportunities. Fountains of Wayne, however, know how to approach the song right. Their version starts out gently with an air of regret and loss. As the song progresses they grow to desperation and outright irrational longing. As the emotions ebb and flow, true feelings of pain start to seep out from between the words. Underneath this all is a slowed down version of the guitar fueled power pop that Fountains of Wayne is known for. So there we go. I'm sure many people out there have a favorite cover song that I didn't mention in this list. I'm also sure that some of you think the covers I've listed are just awful. Feel free to leave a comment if you think I missed something or if you want to disagree. In the meantime, if any of the above songs has caught your interest, you can probably find all of them through your file sharing program of choice. And if you really like them, by all means, pick up the album on which they appear. Be sure to check out these other cover song essays of mine: Cover Me, I'm Goin' In Quit Hogging the Covers Don't Worry, We've Got You Covered Curled Up Under the Covers  |
| Read all comments (14)|Write your own comment |
|
Ads by Google
|
