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)

Tim’s 1970 Top 10 Lists

Tim’s 1970 Top 10 Lists

1970 Top Ten Albums

1. Bridge Over Troubled Water (Simon & Garfunkel)
2. Performance Soundtrack (Various/Randy Newman and Ry Cooder)
3. Lola Versus Powerman and The Money Go Round: Part One (The Kinks)
4. Vintage Violence (John Cale)
5. Sunflower (The Beach Boys)
6. The Madcap Laughs (Syd Barrett)
7. Shazam (The Move)
8. Loaded (The Velvet Underground)
9. Burrito Deluxe (The Flying Burrito Brothers)
10. Paranoid (Black Sabbath)

notable omission:
11. Parachute (Pretty Things)

1970 Top Ten Songs

1. Memo From Turner (Randy Newman & Ry Cooder)
2. Powerman (The Kinks)
3. Immigrant Song (Led Zeppelin) – [I like the album version – but check out this BBC John Peel Session!]
4. So Long Frank Lloyd Wright (Simon & Garfunkel)
5. Gimme Shelter (Merry Clayton)
6. No Man’s Land (Syd Barrett)
7. By The Light Of A Magical Moon (Tyrannosaurus Rex)
8. Deidre (The Beach Boys)
9. Fields Of People (The Move)
10. The Ultimate Prophecy (J.D. Blackfoot)

‘Memo from Turner’ is probably my favourite song of all time. The vocal of this track comes from an unreleased track recorded by Jagger with Steve Winwood and Jim Capaldi.  Jagger’s vocal was then reworked by a supergroup formed for the soundtrack album featuring Randy Newman, Russ Titelman (super producer), Jerry Scheff (The Doors/Elvis) and Gene Parsons (The Byrds/Flying Burrito Brothers.) A strangely manufactured track – but in my estimation even greater than the sum of it’s ingenious parts! Other standout album tracks are ‘Gone Dead Train’ with Randy Newman on vocals, Jack Nitzche and Randy Newman’s ‘Harry Flowers‘ instrumental, and the mesmerizig electo-psych of ‘Poor White Hound Dog‘ which features Merry Clayton on vocals. Merry Clayton’s 1970 single ‘Gimme Shelter’ (cover version) makes my top ten song list – definitely one of my favourite female singers.

With ‘Lola Versus Powerman…’ the Kinks finally got the great production they’d always failed to attain with previous albums. The first and best comeback from one of the most bands of the 1960s. The album also benefits from Dave Davies’ best songs and guitar work including ‘Rats’ and ‘Strangers’ which comes a very close second to ‘Powerman’.

‘Immigrant Song’ has one of the stupidest lyrics of all time – without its viking-fantasy-gibberish we would have missed a lot of hilarious 80’s metal!  However – this is also one of the heaviest riffs ever written – surprisingly restrained clean guitars complimenting the kick-drum-forward mix perfectly.

‘Bridge Over Troubled Water’ is a contender for best album ever – there’s not a weak song on it, so it was excruciating choosing just one for my Top Ten list. ‘So Long Frank Lloyd Wright’ became a favourite after reading ‘Paul Simon A Life’.  In the book Simon explains that the song was written as a ‘goodbye’ to Art Garfunkel, after amicably deciding to call it quits. Garfunkel’s love of architecture spawned the nickname. Simon’s chorus is wonderful compliment and tribute to his long-time collaborator, while Garfunkel’s incredible vocal (and understanding of the meaning) makes the song even more poignant.

Along with Black Sabbath and Slade, Birmingham’s The Move are part of the ‘Black Country Rock’ movement parodied in Bowie’s song of the same title.  Essentially a pop group focussed on studio experimentation, The Move (later E.L.O) often fall short of the mark. ‘Shazam’ is the perfect storm of strong psychedelia, innovative arrangement and experimental instrumentation.

The Beach Boys’ ‘Sunflower’ marks an important reinvention of the band at a time when they really should have called it a day.  Bruce Johnston really stepped up on this album, and his song ‘Deidre’ is Brian-Wilson-standard songwriting as good as anything on ‘Pet Sounds’.

Though separated by decades, Pink Floyd and I went to rival colleges in Cambridge, making it verboten to be a fan. After I got over all my musical prejudices I realised that the only songwriting I like in Pink Floyd is that of Syd, whom I now adore. Sadly this was long after the period where my friends and I would follow him around or sit at his table in a cafe and wonder at his inane mutterings and chirps. A sad and brilliant man. Both Syd’s albums from 1970 are intensely weird and vividly portray his critically damaged persona. ‘No Man’s Land’ sums it all up for me – madness on tape.

J.D. Blackfoot’s ‘The Ultimate Prophecy’ is a pretty great album all around, but the epic title track is my favourite. Heavily borrowing from the Small Faces sound this is about as psychedelic as it gets!

Tyrannosaurus Rex released two album in 1970, the first ‘A Beard Of Stars’ contains some of my favourite Bolan tracks. ‘Elemental Child’ is an incredible feat of minimalism and ‘Fist Heart Mighty Dawn Dart’ was a close second to ‘By The Light Of A Magical Moon’ – Donovan’s influence is very apparent and the lyrics are idiosynchratic and clever. Kooky and brilliant.