In October 2005, a video game called Stubbs the Zombie was unleashed upon the world. Being the world’s sorriest excuse for a gamer, it’s no surprise that I have neither seen nor played this game. (I should like to ask fellow blogger Sarca if she’s played and has thoughts on said game.) I assume it takes for its protagonist a zombie called Stubbs, given its title, but of its plot, I know nothing. I would posit, however, that it takes place in or about the 1950s or 1960s, having listened to its soundtrack. Yes, you heard that right. A soundtrack was made for this game (maybe this is a regular occurrence Sarca?) and it’s the music therein with which I am much more familiar.
Released on the same day as the game, the soundtrack boasts twelve covers of classics from the golden age of rock and roll and an original theme, all by indie artists that were popular in the mid-2000s. We have Cake performing “Strangers in the night”, Death Cab For Cutie doing “Earth angel”, and this lovely take on “My boyfriend’s back” by The Raveonettes.
The original number by The Angels is a bubble gum pop number from 1963 complete with handclaps and cheeky backup singers. It is kind of dark looking at it through today’s PC lenses, the singer threatening a guy with assault at the hands of her rather large boyfriend. It would seem that back in the day this guy would be seen as getting his just desserts since he had first harassed the girl for a date but once rebuffed (several times as it sounds), had spread rumours about her. But it’s all okay, you say, it’s a cheerful and fun song. They’re clapping their hands, fer chrissakes!
But then we listen to The Raveonettes’ cover, which also appears on their album from the same year, “Pretty in black”, and the mood is slightly different. Sure, it’s still boppy but the handclaps are replaced by electronic beats, the guitars are roughed up and raw, and Sharin Foo’s vocals are sassy, channelling Debbie Harry and almost insinuating that she doesn’t really need her boyfriend to defend her. It probably goes without saying that I enjoy this version better with all its noise and angst, while still hinting at the era of soda parlours and poodle dresses, but I can certainly understand any nostalgic bliss directed at the original.
For the rest of the 100 best covers list, click here.