Category: Tunes

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100 best covers: #37 The National “Pretty in pink”

<< #38    |    #36 >>

I don’t know how the compilation, “Reprises Inrocks”, ever ended up in my Apple music library*, which song it was that led me to track down the two disc compilation, but it did. And I did. And though, I don’t listen to it all the way through all that often, there are some great tunes on there that are not available anywhere else.

It was released in 2007 by French music and culture magazine, Les Inrockuptibles, whose pages upon whom I have admittedly never glanced, though I have admired a few of their other compilations in the past, most notably the wicked Leonard Cohen and The Smiths tribute albums, “I’m your fan” and “The Smiths is dead”. The twenty five tracks on this one are all covers, some by bands I love and others not, and many are ones that may not seem like they could work on paper, but somehow do nonetheless. Examples include: Ray Lamontagne’s stripped down take on Gnarls Barkley’s “Crazy”, Jose Gonzalez’s unplugged version of Massive Attack’s “Teardrop”, Nina Gordon channelling Frente but doing NWA’s “Straight outta Compton”, and Calexico’s spanish guitar folk rendition of The Clash’s “Guns of Brixton”.

One of the few tracks that I knew would work from the very beginning was Cincinnati, Ohio’s The National taking a crack at The Psychedelic Fur’s classic, “Pretty in pink”. I was still relative new to The National at this point, having just delved into their fourth studio album, “The boxer”, but I was already hooked on their dark and atmospheric sound and completely sold on the rich vocals of frontman Matt Berninger. Even though his voice is quite different from that of Richard Butler, more lounge and laconic than rough and punk, it still feels exactly right for the song.

Originally written and released in 1981, “Pretty in pink” gained a greater following and notoriety when it was re-recorded a few years later for inclusion on the soundtrack for the John Hughes teen 80s film of the same name. Both Furs’ versions are hard to argue with, raw and more guitar heavy, and more upbeat than The National’s cover. The song is a post punk classic and likely a huge inspiration for a band who have long since penned a bunch of post punk revival classics of their own.

I think both of these recordings are incredible and full of life, one sunny and one rainy, but I have to go with the original here, mostly for the nostalgia factor for me.

Cover:

Original:

*It would’ve been iTunes way back then.

For the rest of the 100 best covers list, click here.

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Best tunes of 2013: #19 Chvrches “Recover”

<< #20    |    #18 >>

Chvrches (or CHVRCHES) is a synthpop trio out of Glasgow, Scotland that formed back in 2011. Ian Cook and Martin Doherty were university friends and had performed in a bunch of failed bands together over the years and were almost ready to call it quits and get ‘real jobs’. However, Cook had taken an interest in electronic music and was messing around with synthesizers around the same time that he was doing some production work for another band and he found that he liked the sound of their vocalist’s style. Lauren Mayberry was intrigued by Cook’s invitation to work together on some material and after some exploratory sessions, the three musicians realized they were clicking and might have something to build off of. They chose their name, not because of any religious connotations, but because they liked the sound of it and played with the spelling as a nod to a certain esoteric indie subgenre of music.

“Recover” is the group’s second proper single and appears on their debut album, “The bones of what you believe”. It is the first track that I ever heard by the group and though it hooked me immediately, I haven’t been a fan everything they’ve done over the years. They tiptoe quite precariously on the tightrope between indie pop and outright dance pop. I can only tolerate the latter sound for short periods but they do the former so well that I will never outright dismiss them. I also respect their integrity, the way all three members contribute equally, and how frontwoman Mayberry has never allowed big money music to focus on her and use her sex appeal to sell their music.

“I’ll give you one more chance to say we can change our old ways
And you take what you need, and you know you don’t need me”

“Recover” is a blast of energy, lasers streaming and confetti flying. It is dancing in a sweaty and crowded hall while the strobe lights transform reality and melt your ability to properly perceive space and time. You’re tired and all the bodies writhing around you are tired and it is way past midnight and still hours before the sun comes up but the music won’t let you and any of your friends rest. The synths play alternatively like washes, handclaps, backing vocals, distorted bass. It’s all very retro futuristic, like robots made from 80s muscle car parts. And all the while, Mayberry is your guide and ringmaster, breathless herself in her high octave, childlike voice, commanding though, demanding you to live and experience the moment fully.

Wow.

For the rest of the Best tunes of 2013 list, click here.

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Eighties’ best 100 redux: #84 Peter Schilling “Major Tom (Coming home)” (1982, 1983)

<< #85    |    #83 >>

At song #84, we have Peter Schilling’s “Major Tom (Coming home)”, the New German Wave re-telling of David Bowie’s classic tune, “Space oddity”.

Of course, when listening to the song at the time, I was too young to have been at all familiar with “Space oddity” so I never could have made the connection between “Major Tom” and the ‘weird’ singer of “Blue Jean”. It was only perhaps a decade later, when, having completely forgotten this track, I rediscovered it while dancing at an 80s night at some dance club whose name I no longer remember in Oshawa, and having further explored Bowie’s music and becoming a fan in the intervening years, that I made the connection.

To this day, I know very little about Peter Schilling and have never heard anything else by him. In fact, I only learned that he was part of the New German Wave scene and that this song was originally recorded in his native German language, while reading up on Nena for the post I wrote about her famous track quite some time ago.

“Major Tom (Coming home)” was originally released in German in 1982 as part of his album “Fehler im system” (the English version of the same album is called “Error in the system”) and was released in English the following year, when it became an international hit. The English version is part of my Apple Music library courtesy of an eighties compilation CD called “Retro night” that was released and purchased by yours truly in 1996 during the time that ‘retro’ music was making a comeback. The song is often lumped in with the synth pop music scene that was on the rise at the time but while it certainly does include synthesizers, I feel that they are used mostly to complement the sound created by using more traditional instruments (especially that wicked bass line).

If you are completely unfamiliar with the story of Major Tom, I would definitely recommend starting with David Bowie’s “Space oddity” but Peter Schilling’s tune makes an excellent companion to the original telling and has a better beat to dance to.

Here is the version I grew up listening to:

And here is the original German version from 1982 for you purists out there:

Original Eighties best 100 position: #87

Favourite lyric: “Across the stratosphere, a final message: ‘Give my wife my love.’ Then nothing more.” And the way he sings it is so ominous and haunting.

Where are they now?: At 69 years of age, Peter Schilling seems to be still very much active in music in his native Germany. For many years, he kept to German language releases but in the last four or five years, he’s seen something of a resurgence due to tracks from his early days, especially this very one.

For the rest of the Eighties’ best 100 redux list, click here.