BARBELITH underground
 

Subcultural engagement for the 21st Century...
Barbelith is a new kind of community (find out more)...
You can login or register.


Cover versions that are better than the originals

 
  

Page: 1(2)

 
 
Jack Fear
23:13 / 01.06.06
Dolly's version also serves as the spine of DJ Earworm's astonishing "Stairway to Bootleg Heaven," which really takes the whole thing to a new level.

There used to be an Australian TV show that required each and every musical guest to perform a cover of "Stairway." Some of those performances ended up at New York freeform radio station WFMU's archive.

That WFMU archive is pretty beautiful, actually. I spent years detesting the song, because I felt it stood for everything I thought I despised. I was wrong, of course, as I have been wrong about many things—because "Stairway," while not fully living up to its awesome reputation (and wht song could, really?) really is a pretty damned good tune when it comes down to it. The lyrics are pish, but the intricacy of the accompaniment has a genuine charm. There's a lovely atmosphere of melancholy, and melody for days.

I'm very fond of the Leningrad Cowboys' version, with the Red Army Orchestra and Chorus; unlike Dolly's version, it acknowledges the silliness of the enterprise to some extent, but in the end the full-blown grandeur of the thing somehow transcends the cheesiness.
 
 
Sniv
13:01 / 02.06.06
Oooh, fun thread. I love Ben Folds' covers of "She don't use Jelly" by the Flaming Lips and Bacharach's (sp??) "Raindrops keep falling on my head". Raindrops is especially good, taken from a concert of bands covering Burt, and ends with a really fun rock-out, ably assisted by one of my favourite bass-sounds evar1!!1, all distorted and sharp, like a big electric knife. The cover of Jelly is also very classy, performed in a lounge-stylee, I think it's also the song that got me interested in the Lips.

Other great covers... has anyone else here got the Ramones tribute album? There are a few duffers on there, like Marilyn Manson going all goffik on 'The KKK took my baby away', but it features a great version of 'Something to Believe In' by the Pretenders that just aches with tiredness and laid-back cool. and it's got the Offspring covering 'I wanna be sedated', which fulfills a dream come true for a young me when I saw them in Idle Hands playing the song, but it weren't on the soundtrack! Gah!

Oh, and the other day I heard a live cover of Queen and Bowie's 'Under Pressure' by pop-punkers The Used and My Chemical Romance. Uh, fuck yeah! The live version has both bands on-stage performing the song, which is always a cool gimmick, but the reality of it is actually really good. The drums especially are great (what with the two drummers, there's quite a nice interplay between them), and the vocals manage to evoke the original without trying to ape the vocal styles. It's a great fun poppy-rocky couple of minutes, search it out!
 
 
D Terminator XXXIII
12:44 / 11.06.06
Re: I Bet You Look Good On The Dance Floor. Genius. I downloaded it and thought it was a reasonably good dance track, kind of cheesy but that's no illspeak around my house. Didn't know who had written teh original, neither did I care. But after repeated listens, the subtle shift in tone when she sings the line "Oh, there ain't no love, no Montagues or Capulets" suddenly stood out clearer and totally transformed what I thought of the song. I had to find out who it was. And knowing now the originators of the song and, uh, how much better this version is makes me, yet again, profoundly appreciative of Flyboy's never ending crusade of finding me the best music around.
 
 
foolish fat finger
21:46 / 11.06.06
I like the sound of a loungecore cover of 'she don't use jelly'...

I have never actually heard this, but it sounds like one of the greatest songs ever recorded- the Buzzcocks, circa 1977, perform a high-velocity cover of 'Angelo' by Brotherhood of Man, in the midst of a 'booing off' situation. I just think that's gotta be the funniest thing ever. In a way, I don't need to hear it, I can already hear it in my head... "running away together, running away forever, Angelo!"
"booooo! booooo!"
 
 
Phex: Dorset Doom
22:33 / 11.06.06
Okay, it's not a cover that's better than the original , per se, but Tori Amos's cover of Slayer's Raining Blood is superb. It turns a song that sounds like an artillery strike feels into something akin to having somebody breathe on the back of your neck only to turn around and see nobody there.
 
 
foolish fat finger
20:16 / 12.06.06
Phex- have you heard Tori Amos' cover of a Chas n' Dave song? I'd love to hear this, it sounds such a bizarre concept.

thanks to once and future matt for the Ray Lamontagne link. that's a really interesting take on the song...

the Dresden Dolls' cover of Black Sabbath's 'war pigs'.
I prefer this version; the drumming is amazing, but I think some metallers feel affronted, judging by some messages on the Dolls' site.
 
 
Withiel: DALI'S ROTTWEILER
09:28 / 13.06.06
Hah. I was in fact just checking into this thread to post that. I do indeed prefer it, mostly because of the vocal performance - Amanda Palmer's voice is lower and /bigger/ than Ozzy's and she sounds as if she's on the verge of biting through the microphone throughout. Also, the density of the sound the Dresden Dolls manage to generate with drums and piano is quite astonishing. I don't know - it somehow seems /scarier/ than the Sabbath version.
 
 
Andria
18:23 / 13.06.06
Strangely, it seems cover albums are kind of popular this year. I wrote about the Bonnie 'Prince' Billy and Tortoise cover of "Thunder Road" in the Will Oldham topic, but their entire album is very good although some songs fail to surpass the originals.

My two favorite covers from this year are by The Czars, from his cover album "Sorry I Made You Cry." They are "Where The Boys Are" (originally performed by Connie Francis) and "Angel Eyes."

The two covers have a lot in common: originally they're both older, pretty ordinary pop hit songs about boy-girl love, which The Czars took and made his own (The Czars are one guy, John Grant). He did this, generally, by making them much sadder and more melancholic, really mining as much emotion from the originals as possible. Both covers are significantly longer than the originals, and more acoustic, with The Czars relying heavily on his own (sad-sounding) voice. The thing that makes me like them the most, though, might be the way in which he changes the context. "Where The Boys Are," sung by a man (and specifically as it's sung by The Czars), becomes a song about homosexual love, and the lyrics in "Angel Eyes" are even changed - from "And I saw him together with a young girl" to "And I saw him together with a young boy" and so on. I have no idea about John Grant's sexuality, but I'm thinking this might be done to further personalise the songs and give him a greater emotional connection to them (or his versions of them, rather). A third song on the album, "Black Is The Colour," is changed in a similar way, by the context.

So I like these songs a lot, but at the same time it seems a little bit formulaic to me (in the sense that I'm easily impressed by a certain kind of cover). Reading my previous post, I notice that I fall for this a lot.

A sadder version of "Mad World" - better!
A sadder version of "Hurt" - better!
Anything Mark Kozelek (one of the saddest musicians ever, it seems) has done - better!
A sadder version of "Thunder Road" - better!
A sadder version of... well, you get it.

I really do like all those covers better than the originals, but is adding sadness a particularily easy (indicating, perhaps, lazy or formulaic) way to do a good cover (meaning providing a new perspective on the original song)? The same question goes for changing the lyrics or context a little in the way that The Czars do, so that the lyrics gain new meaning.

I get suspicious of my own taste, here.
 
 
doctorbeck
13:42 / 14.06.06
but i think what you are getting at very clearly is in that phrase 'mining them for emotion', finding something in them that was there from the start (maybe) and then running with it, building on it and making it your own, you'd love thr Low cover versions if you don't know them already, even the christmas songs ep is melancholy

messing with the gender and adding a gay subtext just adds to that sadness, i would like to hear the Czarm, you sell it nicely
i think the white stripes do it very well with jolene in fact and that all just gets mangled up in what we assume was th wreckage of their relationship at the time they recorded it (think it was an early-ish b-side)

another dolly parton cover, i will always love you. what do y'all think of the whitney version? i think it is alright but the original is just awesome
 
 
+#'s, - names
14:54 / 14.06.06
You're Pitiful
 
 
ostranenie
18:24 / 14.06.06
Anyone heard any Sour Grapes? Mostly they sing songs with gorgeous twee-indie harmony and lyrics full of injokes about the drama in their social group (but which you can relate to if you've ever been in any social group ever), but the last track on their album is a high-speed acoustic strummy version of "Skulls" by The Misfits. They sound like a church folk group gone mad, and it shows up the cartoon heavy-metal lyrics (eg "your blood pours down like devil's rain") in their full ridiculousness, and well, it just makes me laugh every time I hear it. I keep putting it on the end of mix CDs.

And though I wouldn't say it's better than the original, there's a funk cover of Radiohead's Just here...
 
 
johnny enigma
07:58 / 16.06.06
One cover version I heard that definitely wasn't better than the original was a girl doing an acoustic funk version of "Heart Shaped Box" by Nirvana in a bikers' bar in Amsterdam.
 
 
danb
23:37 / 27.06.06
I saw David Gray perform a cover of Randy Newman's Baltimore live, and I liked it better. Haven't found many to agree with me on that one, though.
 
 
Jack Fear
00:50 / 28.06.06
Listening tonight to Devo's version of Neil Young's "Ohio," about the Kent State shootings. Devo have a rep for being all ironic and cold; I never would have expected them capable of either the compassion or the anger to be so explicitly political and at the same time so personal, but this thing... with its squiggly synths and its cartoony voices and its typical Devo sound... Jesus Christ, it makes me choke. Which is something I never thought a Devo song could do.

Because here's the thing: Devo are from Ohio, and they are of an age to have been in junior high school (or thereabouts) when Kent went down; and even though punks are supoposed to hate hippies, Devo will tell you that they idolized them, because they represented the possibility of another way, another mode of living.

For Neil Young, "Ohio" was an emblematic story, and its players were abstractions: "Factory workers dodging Vietnam, learn to read and write and spell." But for Devo, they were people they knew, or people they might have known.

And so there's a breakdown—the drumbeats (made up of sampled gunshots, BTW) stop, and a big echoing voice spells out the title—but way in back, at the edge of hearing, there's another voice intoning a memento mori:

O...

(Jeffrey)

H...

(Alison)

I...

(William)

O...

(Sandra)


...And it's then that I think Neil Young, you motherfucker, these were people, human beings with their own lives and ambitions, not just an object lesson of Hippies Vs. The Man: you wrote this song ostensibly to memorialize them, but you son-of-a-bitch, you couldn't even be bothered to tell us their names.

But Devo, unlikely Devo, spud-boy smart-alecks in their goofy flowerpot hats, remember. And in that one moment, in those four minutes, they speak the truth and shame the devil.
 
 
doctorbeck
07:04 / 29.06.06
now i so want to hear that track, it sounds like everything a good cover should be about, which to my mind is finding something new and your own in the original and making it totally yours, and nan awesome reading of the tension between youngs hippy detachment and the realness of devo

but the link doesn't seem to take me there, tho it does have a very good banner ad for impotency treatments
 
 
Jack Fear
13:15 / 29.06.06
Works fine for me. It doesn't hotlink to thne track itself, but rather to a page where you can download it to your own machine.
 
 
sorenson
00:02 / 30.06.06
This is a very old one, but I have always loved PJ Harvey's version of Bob Dylan's Highway 64.
 
 
sorenson
02:36 / 30.06.06
oops. make that highway 61.

how embarrassment.
 
 
The resistable rise of Reidcourchie
10:16 / 03.07.06
I like the Devo song but I've never heard the original. I downloaded Tori Amos's Slayer cover, the jury's still out.

I agree with all the comments about Hurt, for me what Cash did shows what a cover should be at its best and it also can move me to tears when I hear it.

I have a bootleg live recording of Jimmy Page and Robert Plant doing a cover version of the Cure's Lullaby and it is probably the best cover version I can think of. it turns a likeable enough pop song into a pathos ridden blues epic, utterly brilliant.

The Revolting Cocks version of Do Ya Think I'm Sexy is pretty good as well.

I really, really cannot stand the Smiths or Morrisey and will leave the room whenever I hear his voice. For some reason I enjoy Tatu's and Love Spit Love's version of How Soon Is Now.

I don't like the original very much but Motorhead's cover of Enter Sandman one of the scariest thing's I've ever heard.

Tool's version of No Quarter (probably my favorite Led Zep track) is an excellent reinterpretation of the original but not quite as good. I love Tool but don't particularly like Staind, however I prefer Staind's version of Sober for reasons I can't quite explain, for some reason the singer in Staind's voice seems to do the lyrics more justice.

Snow Patrol's cover of Carzy In Love is Amusing but again not a patch on the original.
 
 
grant
11:59 / 03.07.06
Jack: Because here's the thing: Devo are from Ohio, and they are of an age to have been in junior high school (or thereabouts) when Kent went down;

Oh, man. I wrote about this in a disjointed blog ramble (starting, actually, with a thought about hats from a barbelith thread) way back when.

Devo weren't in junior high -- they were at Kent State. Gerald Casales was in SDS. They were eyewitnesses to the shootings.

Quoted on the blog:
Said Casale, "It refocused me entirely. I don't think I would have done Devo without it. It was the deciding factor that made me live and breathe this idea and make it happen. In Chrissie Hynde's case, I'm sure it was a very powerful single event that was traumatic enough to form her sensibility and account for a lot of her anger." Mothersbaugh added, "It was the first time I'd heard a song about something I'd been a participant in. It affected us. It was part of our life."

(Note: Chrissie Hynde was also at Kent State with them. For what it's worth.)

That's a vital piece of rock history that no one seems to know about.
 
 
foolish fat finger
11:59 / 03.07.06
talking of Smiths covers, The Ukrainians' cover of 'Bigmouth strikes again' has always had a big place in my heart- like a prototype Gogol Bordello...

...Batyar
 
 
The resistable rise of Reidcourchie
12:31 / 03.07.06
I love PODs version of U2's Bullet the Blue Sky, I do think it's better but only just, Seputura have also done a reasonable version of it. Sepultura also covered the Hunt by New Model Army, very, very good reinterpretation of it, suddenly it was about Sao Paulo (?) and not Bradford, but I still think the original is better.

Something I was thinking about when listening to Tori Amos's version of Raining Blood, my enjoyment from that and Tool's version of No Quarter comes from my knowledge of the original tracks, do these covers work on their own if you haven't heard the original or do they require knowledge of the original to get the best out of them? I would've pretty much dismissed Tor's version of Raining Blood and Tool's No Quarter if I didn't like the originals.
 
 
Sniv
12:57 / 03.07.06
Has anyone heard the Biffy Clyro cover of Weezer's Buddy Holly? It's really really sickeningly good. They've completely removed the main melody but as far as my musical freinds an I can make out they've kept the same notes, just mega-riffed them. It's a stop-start, heavy-like-an-elephant falling-anvil-to-the-head kind of song - nothing like the original in any way other than some lyrics, but still utterly gobsmacking when you realise the droning squalling solo at the end is the exact same solo as the original song, just slowed down almost past the point of recognition. Fuck yeah!

It was available on a Kerrang! CD (ugh, I know... I didn't buy the mag though...) a few weeks ago. Some mini-moshers you know just may well have it (it also features Charlie-from-Busted's band Fightstar covering the Deftones' My own summer too, if you want a laugh.
 
 
Jack Fear
14:36 / 03.07.06
grant: Holy shit. I knew Chrissie Hynde went to Kent, but I had assumed it was after the events of 1970.

It sort of weirds me out to think of her (and Mark and the Casales) as being that out, as being roughly contemporaneous with the hippes. One of the received truths of punk is that it coalesced in reaction to the excesses, decadence, and ultimate failures of flower power: the quasi-generational difference in the worldviews tends to make me assume a larger chronological distance than exists.

It's bizarre to think that, for example, Tom Verlaine was born the same year as Twiggy, or the guy who wrote "Walk Away, Renée," or the guys from Yes. But it's true. I suppose it's got less to do with age than with being a prodigy vs. a late bloomer: Twiggy started modelling very young, and became a symbol of the 60s zeitgeist, whereas Verlaine was nearly 30 when he made Marquee Moon, coming into his artistic maturity after the implosion and fall of that zeitgeist. Or something.
 
 
The resistable rise of Reidcourchie
12:22 / 04.07.06
Strictly speaking Punk and the hippy era were a lot closer than people give them credit for, the hippy era didn't really get going until the late 60's and I think it was '69 that punk pretty much kicked off in Washington wasn't it?
 
 
Jack Fear
17:02 / 04.07.06
Received wisdom holds that punk began around 1976-77, with the Pistols et al. in London and the Ramones and the scenbe around CBGB in New York City; that's when bands started self-identifying as "punk rock" in appreciable numbers.

Late 60s/early 70s bands that were in the same vein musically—the Stooges, the Velvet Underground, the MC5, and so forth—are usually classed as "proto-punk." While they might've sounded like punk, the social, political, and fashion scenes that were such an important part of punk proper had not yet fully coalesced. They were bubbling under as early as the mid-60s, but they reached critical mass around 1977.
 
 
STOATIE LIEKS CHOCOLATE MILK
20:23 / 04.07.06
I agree with Jack on this one. But that doesn't stop it being scary that "hippy" and "punk" were so close together... it always seems like they were spearated by absolute aeons, but for comparison, the time between the Smiths splitting and now is more than double the time between Sergeant Pepper's and Never Mind The Bollocks...
 
 
grant
19:58 / 05.07.06
Now I can't find the fucking CD I got that had that cover on it. I was going to YouSendIt up here.

Now, I'm beginning to picture the first punks as the twerpy little brothers of the flower children.
 
 
The resistable rise of Reidcourchie
15:02 / 11.07.06
I'd always considered the Stooges as a punk band and the Sex Pistols as a pop band not unlike the Monkees, N-Sync or Linkin Park.
 
 
D Terminator XXXIII
18:17 / 18.08.06
which cover do you think are better than the original version?

No surprises: No Surprises.
 
 
aluhks SMASH!
19:38 / 19.08.06
There is this short lived emo/pop-punk band called The Starting Line did a cover of Ja Rule's and J. Lo.'s (yes at that point she was J. Lo.) "I'm Real." It's really great. It sounds like "I'm Real" could be a pop-punk song but its funnier to remember that its not. It's really fun to sing along to as well.
 
  

Page: 1(2)

 
  
Add Your Reply