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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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100 best covers: #38 Teenage Fanclub “Mr. Tambourine man”

<< #39    |    #37 >>

Scottish alt rock legends, Teenage Fanclub have appeared many times over on these pages since this blog’s inception. In fact, they’ve already graced this particular list once with their cover of a great track by another iconic Scottish alt-rock band and – spoiler alert – you’ll likely see them again on this list before it reaches its end.

I first heard this particular cover of “Mr. Tambourine Man” when a friend of mine put it on a mixed tape for me. I later learned of its provenance when I found a used copy of the 3-CD compilation “Ruby trax” at Penguin Music in the late 90s, a compilation that has also received due mention in relation to this list of great covers. I remember thinking it quite apt that the Fannies chose to cover this particular track given that I had found that the jangling guitar and harmonizing vocals on their 1993 album “Thirteen” harkened back to the folk rock sound practically invented by The Byrds. Of course, this was before I learned that Teenage Fanclub was just as enamoured of Big Star and that The Byrds’ “Mr. Tambourine Man” was itself a cover of a Bob Dylan track*.

The Teenage Fanclub cover has way more in common with The Byrds version than with Bob Dylan’s original. Indeed, it’s almost an exact replica of The Byrds’ rendition, only a slightly bit shorter and perhaps a bit more raw in the vocals. The Byrds released their cover in spring 1965, less than a month after Dylan released his original. Both of these versions were very successful for those artists, topping charts and inspiring generations of musicians. The Byrds cut a few verses from Dylan’s composition, changed the time signature, and the recording is half the length. It’s 12 string jangle rock versus pure balladeering folk.

You can definitely tell that Teenage Fanclub owed more a debt to The Byrds than to Bob Dylan with their faithful ode. Some might knock them for it, but not me. And though the two covers are quite different from the original I love them all and refuse to go with one over the others.

Cover:

Original:

*Having only had limited exposure to both Dylan and The Byrds via my parents’ oldies radio station listening, I would later go on to learn that The Byrds covered many Bob Dylan tunes while exploring both of their catalogues much, much later.

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

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100 best covers: #39 Great Big Sea “Run runaway”

<< #40    |    #38 >>

Great Big Sea has long since been a household name here in Canada and is relatively well-known elsewhere as well, counting amongst their fans actor Russell Crowe. They are likely the most famous band to come out of Newfoundland and for a while during the late 90s and into the 2000s, were one of the best-selling groups here, their high-energy folk and updated interpretations of traditional sea shanties obviously finding a home in the hearts of good Canadian youth.

It certainly found me on first listen with this very cover of Slade’s* “Run runaway”. I remember catching the video at some point in the summer of 1995 or 1996 on MuchMusic, right around the time their video for “Mari Mac” also caught my attention. It wasn’t long at all before these two songs could be heard from open residence room doors and through the open windows of student apartments all around Toronto. Both are excellent tunes but it was this re-interpretation that first sold me.

Slade’s original came out around the time that I was just finding my own feet with music, branching out from my parents’ oldies radio listening in the car and regularly watching the chumFM top 30 countdown on CityTV. I didn’t, of course, know this at the time, but this was Slade’s second go round and comeback venture, their biggest inroads into the North American market. They had been flirting with glam rock throughout the 70s and were quite popular at home in England. It took a cover by metal band Quiet Riot of their 70s hit “Cum on feel the noize” to finally drum up interest in the US, leading to a signing with a US label, and the first single released was, of course, “Run runaway”.

Recorded for their 11th studio album, “The amazing kamikaze syndrome”, “Run runaway” was very much of its time. It has soaring guitars that put together a stadium-ready hook and there’s those shout-along vocals that had me along for the ride, even though I didn’t understand them. But it was far from a sellout. Slade didn’t stray far from their roots, employing electric violin and adapting traditional Scottish jig elements for a hard rock world.

Then, more than a decade later, Great Big Sea, removed the rock and upped the traditional. Their cover has flutes, accordions and fiddles and is sung like a shanty. They even made it more upbeat, which I wouldn’t have thought possible as a pre-teen.

And though the original has the nostalgia factor going for it, I gotta give the edge to the cover here.

Cover:

Original:

*This is, I believe, the second cover of a Slade tune to find its way on to this list.

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