Tag: Covers

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100 best covers: #83 The Farm “Don’t you want me”

<< #84    |    #82 >>

Here’s a cover for the list that I realize might not be my most popular pick. I’m well aware that it is purely about nostalgia and time and place. Not that there’s anything wrong with that.

When I was very young, I had a vinyl collection, mostly 45s, and mostly records connected with storybooks from the Walt Disney and Sesame Street family. I don’t know what age I was, but definitely before ten years old, I received my first “real” music record from one of my cool aunts, probably my Aunt Kathy. It was, as you might have guessed, the 7” single of Human League’s “Don’t you want me”, backed with “Seconds”. Of course, I didn’t know then that it was the fourth single to be released off the synth pop group’s third album, heck, I didn’t even know what synth pop was, but I played it all the time, along with its B-side, and danced around my little bedroom like a maniac.

Just under a decade or so later, I had just graduated high school and was wondering what to do with my life. I was quite deep into music, this new alternative stuff, mostly of the baggy, madchester persuasion, and one of my favourite albums of the moment was “Spartacus”, the debut album by The Farm. My friend Andrew Rodriguez got a copy of the sophomore release, “Love see no colour”, for Christmas, which he promptly recorded for me. I won’t lie. I was a bit disappointed with the first few songs but then, there were some higher moments, and then, six songs in was a cover of this song from my youth. I fell in love with it all over again. I only later learned that the cover was originally recorded for an NME-related compilation called “Ruby Trax” a few years later when I picked it up in a used CD store on McCaul street in Toronto.

Despite being recorded almost a decade apart, the two versions are not all that far apart in sound. The Human League’s “Don’t you want me” is definitely more synth heavy and mechanical and The Farm’s cover has more guitar work and some synth flourish to plug the gaps left by the austere original. Nevertheless, both are quite dated sounding today. Again, definitely time and place. And if I hadn’t been there for both originally, this post might not have happened at all.

Thoughts?

The cover:

The original:

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

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Tunes

100 best covers: #84 Crash Test Dummies “Androgynous”

<< #85    |    #83 >>

Back at the end of April, I railed on about my love for the “The ghosts that haunt me”, the debut album by Winnipeg’s Crash Test Dummies, as part of my Best tunes of 1991 series (“Superman’s song” at #24). That darned cassette definitely got a workout in both my Walkman and my stereo while at home. I played it so often that I pretty much knew all the words to all ten songs on the album, though I’m sure studying the lyrics in the foldout cassette cover didn’t hurt. It was here that I was first tipped off that “Androgynous”, track three on side two, was a cover, the lyrics attributed to a “P. Westerberg”.

It was years, though, before I made the connection between that name and the legendary American punk rock band from the 80s: The Replacements. And years still until I actually sat down to listen to the original. It was, in fact, just this past week that I brought it up on YouTube, figuring I should probably do so since I’d be writing about it. I almost felt like a cheat when I made up this covers list, including Crash Test Dummies’ version on it as one of my favourite ever, not knowing the song on which it was based. But back in the day, I loved singing along to this song so much.

“Here come Dick, he’s wearing a skirt
Here comes Jane, you know she’s sporting a chain
Same hair, revolution
Same build, evolution
Tomorrow who’s gonna fuss
And they love each other so
Androgynous”

The version I know starts off slow and plodding, folky like the rest of the album, while Brad Robert’s bass-baritone melds with Ellen Reid’s angelic textures, until it picks up to a foot stomping climax. I checked out two versions of The Replacements performing it: what I think is the original and a live version performed in recent years. Their original has a juke joint rockabilly feel, plonking piano and sing along vocals but live, it has an even more raw edge, focused more with guitars.

Given that I haven’t as yet put aside time to explore more of The Replacements’ work, I don’t know how this song even fits within their back catalogue. I do like their version as well, so does this mean I need to check them out? Replacements fans, help me out.

The cover:

The original:

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

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Tunes

100 best covers: #85 Siouxsie and the Banshees “The passenger”

<< #86    |    #84 >>

In 1983, noted post-punk, gothic rock band, Siouxsie and the Banshees released a cover of The Beatles’ “Dear Prudence” that featured The Cure frontman, Robert Smith on guitar. It was a massive success for the band, giving them their biggest hit single to date and garnering them plenty of kudos for the rendition. This one cover, in turn, inspired the group to record a whole album of covers, much like David Bowie did with “Pin ups” in the early 70s. They finally got around to launching this project four years later. The resulting album was “Through the looking glass”, its title a nod to the work of Lewis Carroll, and it included covers of a bunch of songs recorded before their inception, by bands (like Roxy Music, John Cale, and The Doors) who had inspired the Banshees and their music.

As you could’ve easily guessed by now, my favourite of the bunch was their version of Iggy Pop’s “The passenger”. The original recording of the song appeared on Pop’s second studio album, “Lust for life”, included contributions by David Bowie on backing vocals, and was co-written by lead guitarist Ricky Gardiner, who came up with that iconic and instantly recognizable, rollicking guitar riff. Iggy Pop’s original is dark and foreboding because of its austere sounding production and the deep and chilling vocals, whereas Siouxsie Sioux and her Banshees’ version is gothic because her and who she is.

Siouxsie’s version is also more symphonic, including a horn flourish that has a melody not heard in the original. It is a bit peppier, seemingly sped up some but that is probably just an illusion of sound. Siouxsie as always is dramatic and glamorous, her flamboyant vocals changing the tone and mood. And like many of the other songs on this covers album, the original artist, in this case Iggy, has praised and Siouxsie and the Banshees for their version, with Pop pointing out her vocal work as bringing something new to the song that he only wish he’d thought of.

For my part, “The passenger” is another case where I enjoy the original and cover with equal fervour, despite them being quite different. Indeed, I have no issue singing “la, la, la, la, la, la, la” loudly along with either one. Enjoy.

The cover:

The original:

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