Mike’s Unaccompanied

Sorry to take so long with this. I’ve found it to be the most difficult topic we’ve treated so far, and have finally resolved to just put a choice but almost random selection of ten cuts from hundreds of possibilities. I like what Brent did, and restricted my list to what could be considered “folk” (Nina Simone is a self-described folk artist and I agree), adding a few favorite solo jazz albums as an appendix. I’ve already named unaccompanied tracks on a lot of prior lists, so you won’t be surprised by many of these or the artists named.

Soon after I selected this topic, I also came to realize that a lot of the songs that I thought were unaccompanied performances, aren’t. For example, I forgot about the haunting cello accompaniment on “Spencer the Rover (Spotify),” from the Sunday’s Child album. I went ahead and included it because he performed it solo live throughout his career, and hey, you all are cheating too! For the most part, I am sticking with unaccompanied studio cuts and albums. There’s something very intimate about these.

Songs

1. Nina Simone–Black Is the Color of My True Love’s Hair. (Spotify)

2. Martin Carthy–Davy Lowston

3. Dave Van Ronk–Dink’s Song

4. Joni Mitchell–The River

5. Bob Dylan–Moonshiner (Spotify). A lot of these songs are about the vocals. This is probably my favorite vocal performance of all time.

6. Michael Hedges–Aerial Boundaries

7. Anne Briggs–Lowlands

8. Richard Buckner–Settled Down (Spotify)

9. John Martyn–Spencer the Rover

10. Kevin Coyne–Marjory Razor Blade

Albums

Nick Drake–Pink Moon. I think I’ve said it before, but it is hard for me to imagine these tunes with any accompaniment beyond what’s there. It cannot be improved upon, each and every song from the album so personal.

Leo Kottke–Greenhouse. Especially “Spanish Entomologist” (in part because of the effortless quotes of Hank Williams’ Jambalaya and a couple of other songs I can’t place), “Song of the Swamp“, and one of his all-time great vocal songs, “Louise“.

Loudon Wainwright III–A Live One (“Motel Blues“)

Mike’s Notable Covers

When the Levee Breaks–Led Zeppelin (Original: Kansas Joe McCoy and Memphis Minnie). A good cover song for me requires at least one of two qualities: 1. It must transform the original and/or 2. It must somehow get inside the original. If the cover does neither of these two things, it isn’t tribute, it is derogation. It is U2’s abominable Helter Skelter. I don’t want to get into the many, many songs that Led Zep never bothered attributing; I’m not entirely sure that they ever wrote an original song. But, they completely transformed everything they touched, none more than this.

At Last I Am Free–Robert Wyatt (Original: Chic). Throughout his solo career Wyatt has offered unique takes on popular songs (I’m a Believer), little known songs from popular artists (Elvis Costello’s Shipbuilding) and arcana (Stalin Wasn’t Stalling). His version of the Chic song unearths its best qualities.

America—Yes (Original: Simon & Garfunkel). The original really could not be more perfect, and while this version barely resembles it, it takes full advantage of the gorgeous melody to create an equally beautiful statement. I know this group isn’t universally admired here (am I alone?). I love how much Howe takes liberties in the recreation—his incredibly unique guitar lines, then Squire’s power and Bruford’s proficiency.

Contempt–Naked City (Original: Georges Delerue). One of my very favorite pieces of music… I’d never heard the original Delerue composition that appeared in the Godard film before hearing this. The Delerue expresses mournfulness. Zorn couples that with longing and emotion with his sax lines.

Blue Moon of Kentucky–Elvis Presley (Original: Bill Monroe). The definition of transformation.

Big Joe and Phantom 309–Tom Waits (Original: Red Sovine). Another favorite song. The original is great. The cover, nothing like it!

Mack the Knife–Dave Van Ronk (edit: It’s not a cover of the Darin version, but I like that one too. Here’s the original: Brecht/Weill, Lotte Lenya version).

The First Time Ever I Saw Your Face–Roberta Flack (Original: Ewan Maccoll). Everything I love about a cover. A unique voice captures the essence of the original but brings to light intrinsic qualities not emphasized in the original.

Blue Eyes Cryin’ in the Rain–Willie Nelson (Original: Roy Acuff)

Wild Is the Wind–Nina Simone (Original: Johnny Mathis). Live at Town Hall version. First recorded by Johnny Mathis for the film of the same name. The sensitivity of this performance breaks my heart. Other good covers: Bowie’s, Cat Power’s).

I Am the Walrus–Spooky Tooth (Original: The Beatles). You may remember how I love this. The Boris cover that dogonab lists is of course a cover of this inimitable Spooky Tooth version, not so much a cover of the original.

Little Wing–Gil Evans (Original: Jimi Hendrix)

Favorite Tribute Albums

Soupsongs Live: The Music of Robert Wyatt. Attributed to various artists but it is really Annie Whitehead’s band with a few others including Phil Manzanera and Julie Tippett.

Ubu Dance Party: A Tribute to the Music of Pere Ubu. It’s unlikely as hell – 38 bands from Ohio that you’ve never heard of, only a half dozen of which might have an official release under their belts – cover the greatest Ohio band of them all, and it works. As I recall, this was put together to benefit a musician who thought up the idea but found himself in a hospital for an extended period midway through. Must be a hell of a guy because, and not to get too sloppy about it, you can feel the love throughout. I don’t think there’s a straight cover to be found here and it’s the better for it. Well done, all, by God, and if you ever happen by one of these bands in a smoke-filled beer hall in an East Cleveland dive raise a glass to ’em because once they did a damn bit of great.

Buck Owens–Sings Tommy Collins. Somewhere around the beginning of Buck’s career he was Tommy’s guitarist. I’ll have a good time seeking out the originals as well as other, in some cases more famous, versions of these great songs. Meanwhile, this serves as a great entry point to the greatness of Buck and his Buckaroos.

Asleep at the Wheel–Tribute to the Music of Bob Wills and the Texas Playboys. (Blues for Dixie)