nonpretentious » Cover//Original

Cover // Original Verdict: Goodbye Girl

Melissa Sachs — Wed, 28 Jul 2010 01:40:51 +0000

To remind you, a few weeks ago I presented this cover versus original debate for “Goodbye Girl.”

The cover by James Mercer of the Shins for Levi’s Pioneer Sessions (email address required for download)

Or, the original by Squeeze.

When it comes to cover songs, it’s kinda perfect that the Shins covered Squeeze’s “Goodbye Girl.” At least, for me.

You see, contrary to popular opinion (read: what my sister thinks), I didn’t always have what some may call ‘pretentious’ taste in music (read: how my sister describes it). In middle school, I loved Boyz II Men and Ace of Base. In high school, I followed the trends and listened to classic rock, 80s pop, jam bands, and the Fugees. I loved the Fugees. Heck, I still love the Fugees. But while I’m on the subject of my (cringe-worthy) high school listening habits, I may as well admit that I’ll probably die knowing all the words to the Indigo Girls‘s greatest hits (thanks to my summers at an all-girls camp), the Rent soundtrack, and the Rocky Horror Picture Show soundtrack.

After high school, my taste in music changed almost as predictably as my political outlook and almost as frequently as my declared major. Throughout my college years, I tried out 20s bebop, 90s indie rock, 70s punk, Motown, and all types of singer-songwriter. Eventually, I figured out what I liked in each genre. I started to have preferences and pick favorites. Words like ‘jangly,’ ‘twee,’ and ‘bubblegum pop’ entered my vocabulary as I searched for things that sounded like the Kinks or The Shirelles.

Which is how I came to know The Shins, whose music is definitely “in the style of” that I described above.¹ One of my favorite mixes that I ever made features “New Slang.”² Remember that song? It was one of the band’s earlier hits that became even more famous when it was included on the Garden State soundtrack in the summer of 2004. No matter how pretentious you want to be about it, the commercial success of the movie and the soundtrack introduced lots of people to pretty awesome, ‘indie pop’ music.

Thanks to my friend, Matt Erickson, 2004 was the same summer that I first heard Squeeze’s “Goodbye Girl.”³ (Notice: There’s a reason why you all should listen to Matt Erickson’s Top 100. I can attest to his good taste!) As the world was (re-)introduced to The Shins, I was (re-)introduced to this band that I knew from the Reality Bites soundtrack (which was also on repeat during my camp years). I was also introduced to other gems that I never would’ve heard if not for Matt’s recommendations.⁴

So, it’s kinda coincidental that James Mercer covered “Goodbye Girl,” especially for Levi’s Pioneer Sessions. Like how the Garden State soundtrack reminded people about the Shins and Nick Drake (Nick Drake’s “Northern Sky” was also included on one of Matt’s mixes), like Matt’s personal recommendations to me, Levi’s Pioneer Sessions will introduce a whole new generation of people to rock, soul, rap, and pop songs that may have otherwise gone unnoticed.

And, now, to announce my verdict… Let me preface it by saying, Matt Erickson’s right. Matt Erickson’s (pretty much) always right.

Matt’s right that Squeeze’s version on the Singles – 45s & Under reigns supreme.

Contrary to what Matt commented, however, I *did* link to that version when recommending the song for downloading.⁵ Although it may sound like I’m criticizing him, please note that I emphasize this only to prove that I’ve soaked up whatever he has thrown out.

Plus, ever since that fateful summer in 2004, Matt and I have been sharing music recommendations. While my musical taste has changed over the years – mostly thanks to his influence, along with Fortuna Köln, Kiren, and a few others – I’m certain that Matt knows that I’ll always have a penchant for pop and a soft spot for catchy. And, Squeeze’s version is the ultimate in catchy pop.

Cover v. Original: Goodbye Girl

Melissa Sachs — Tue, 29 Jun 2010 17:42:41 +0000

It’s been way too long since we’ve had a runoff between an original song and its cover version.

As a reminder, Cover v. Original works like this: A contributor presents covers and originals in a post. Readers debate over which is better in the comments. Final verdict is given about one week later.

This week’s song choice comes to you from Levi’s Pioneer Sessions, a project in which current, pioneering artists cover a song that inspires them. I first heard about the project at one of my favorite blogs, Pulp and Circumstance. Once I perused the archives, I was super intrigued by The Shins cover of “Goodbye Girl” by Squeeze. The Shins? Haven’t heard anything from them in awhile. And someone once told me that “Goodbye Girl” is the only good song by Squeeze. Fuck the Reality Bites soundtrack.

So, what do you think? Cover or the original? You can download the cover version on this page (e-mail address required). You can also download the mp3 of Squeeze’s version on Amazon or iTunes.

Leave your comments on our Facebook wall or on this post. I’ll let you know my opinion next week.

Cover v. Original: Morning Dew

Fortuna Köln — Mon, 24 Aug 2009 21:40:35 +0000

The original: “Morning Dew” by Bonnie Dobson

The contenders: The Grateful Dead, Jeff Beck, Lulu, Devo (video below), Einstürzende Neubauten, & Lee Hazlewood (link to mp3 below).

I’m not sure whether it’s the oppressive heat, the path of destruction being left throughout east Asia by typhoon Marakot, or my recent viewing of the trailer for Roland Emmerich’s next masterwork 2012 that’s got me feeling, well, feelin’ a little apocalyptic.

I suppose Nevil Shute must have felt that way in 1957 when he penned his novel “On The Beach”, a bleak tale of nuclear war in which the forced euthanasia of an infant is one of the more positive occurrences on humanity’s inexorable march to extinction. Shute didn’t have to worry about our modern doomsday scenarios (it’s gonna be the LHC, I tell you); no, in the 50′s men were men and our impending doom was an old-fashioned nuclear holocaust.

The novel struck a chord with a lot of people, probably because they had been performing duck & cover drills before homeroom since the Soviets got the bomb in 1949. Stanley Kramer adopted the novel was into a film starring Gregory Peck and Ava Gardner in 1959 and it was this film that inspired a young Bonnie Dobson to write “Morning Dew” in 1962.

Dobson’s lyrics lament a world in which nothing is spared by the apocalypse: “You didn’t hear no young man cry/Now there is no more morning dew” – the end will be swift and brutal. The relentless hopelessness of Shute’s novel hammered home, that was not a young man crying out, it was humanity’s death rattle.

Dobson’s version of the song, recorded live in 1962 at Folk City in Greenwich Village consists of just Dobson’s voice and guitar accompaniment and was a modest success. The song was destined to become another slightly well-known folk standard until it was plucked from obscurity by a soon-to-be world famous band from San Francisco.

The Grateful Dead, hippies, Jerry Garcia, Dick’s Picks… honestly, nuclear holocaust doesn’t seem like a bad option when confronted with this list. But crazy as it may seem, The Dead did occasionally pull a gem out of their never-ending pile of boring, pointless, patchouli-scented jams (and even one fair-to-good album!). On their 1967 debut, they wisely chose to stick to someone else’s songwriting for at least one track, and cut their own version of “Morning Dew”. It became a live favorite that the band played for decades. Their version, expanded for a full band, takes the song from its stark folk roots and turns it into a nice piece of west-coast psychedelia. The Dead’s version lacks the ominous sorrow of Dobson’s original, but its midtempo, laid-back vibe has considerable charm of it’s own. On the other hand, all it takes is one Deadhead completely missing the point of the song and talking about “Jerry’s moving and soulful riffs” to consider getting your hands on the suicide pills handed out to the victims of radiation in On The Beach.

Inexplicably, this song about nuclear holocaust, written by a relatively unknown Canadian folkie went on to be covered by a wide range of artists. Maybe it’s the timeless subject matter of our species’ march toward annihilation, or maybe it’s just good songwriting. But now it’s time for a battle royale to determine which version of this song is the best, one of the covers or the original. Before you vote, let’s take a look at some of the other contenders in addition to the Grateful Dead.

Lee Hazlewood
Lee Hazlewood covered the song on his 1968 LP Love And Other Crimes. Hazlewood, who pioneered psychedelic country, always sounds relaxed and his baritone drawl is a sharp contrast to Dobson’s angelic tones. On this song, however, there is a note of earnestness in his voice. As the music builds and recedes you can’t help but think that Lee is quite serious in wanting to avoid Armageddon.

Einstürzende Neubauten
In some ways, Einstürzende Neubauten is the perfect band for a post-apocalyptic world – they’ve been using scrap metal, construction equipment, and hacked together noise generators as instruments since the beginning. Blixa Bargeld’s vocals are the definition of sinister and creepy, but you can’t help but feel a little seduced as well. This is not a lament for Ragnarök, it’s an invitation.

Devo
Bonnie Dobson is on record as not being a big fan of Devo’s version of the track, recorded for 1991′s Smooth Noodle Maps. It’s Devo, so you know it’s going to be a little weird, but probably still pretty catchy. They add some lyrics which take the song in a more nihilistic direction than the others, which is difficult to do with a song about nuclear holocaust. Still, they seemed happy and resigned to their fate and some it all up in the end with the line “I guess it doesn’t matter anyway”.

Lulu
Lulu: Scottish pop singer, actress, and fake girlfriend of Davey Jones of the Monkees. Her first hit, at the tender age of 15 was a cover of the Isley Brother’s Shout and later in her career she won the Eurovision song contest with a track called “Boom Bang-a-Bang”. So it’s a little strange to that her cover of Morning Dew starts off sounding like Terry Riley laid down the backing track and ends up somewhere around Dusty Springfield or Tina Turner.

Jeff Beck
Jeff Beck is probably most famous as the Yardbirds’ guitar player who was not Eric Clapton or Jimmy Page. That’s probably selling him a little short. His 1969 cover of the song goes with guitar freak-out rave up routine, and to be honest his voice sounds a little bit like the white, male, English Aretha Franklin.

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Cover v. Original works like this: A contributor presents covers and originals in a post. Readers debate over which is better in the comments. Final verdict is given about one week later.

Cover v Original Verdict: the 15th – Fischerspooner’s Good, Wire’s Damn Good.

Melissa Sachs — Tue, 17 Feb 2009 06:35:04 +0000

Cover v. Original: The 15th

Verdict: Wire

When comparing Fischerspooner’s version with the live version by Wire, a cruder version of Wire’s awesomeness, one can see that Fischerspooner does really hold its own on the song. Based on the interviews, you could even say that they “get” the song. They’ve made it theirs.

But, in order to make my decision, I couldn’t use Wire’s live version. That’s a whole different set of philosophical questions – cause is each performance a cover of the original – I had to compare studio version with studio version.

In other words, I used Wire’s version from 154.

And, that version is damn good.

here is some further reading material:

the lyrics…

Reviewed, it seemed
As if someone were watching over it
Before it was
As if response were based on fact

Providing, deciding, it was soon there
Squared to it, faced to it, it was not there

Renewed, it fought
As if it had a cause to live for
Denied, it learned
As if it had sooner been destroyed

Providing, deciding, it was soon there
Squared to it, faced to it, it was not there

Reviewed, it fought
As if someone were watching over it
Before it had sooner been denied
Renewed, it seemed
As if it had a cause to live for
Destroyed, it was later based on fact

courtesy of “SongMeanings.com”

30 second clip of Wire’s version on last.fm

idolator article about the making of fischerspooner album

Colin Newman’s wiki bio

another article on the making of the fischerspooner album – this time more graphic in remix mag

Wire interview where Colin Newman admits to liking Fischerspooner’s 15th cover

Under the Radar interview with Fischerspooner

Self-Titled interview with Wire

Scroll down to the bottom where the 15th is mentioned & as well as our last cover versus original debate

Cover v. Original: The 15th

Melissa Sachs — Sun, 25 Jan 2009 13:48:04 +0000

THE 15th

COVER: FISCHERSPOONER

ORIGINAL: WIRE

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Cover v. Original works like this: A contributor presents covers and originals in a post. Readers debate over which is better in the comments. Final verdict is given about one week later.

Verdict: Map Ref 41°N 93°W

Fortuna Köln — Wed, 19 Nov 2008 05:11:52 +0000

Yes, friends, it’s finally time to reveal the winner of Cover v. Original #3: Wire v. My Bloody Valentine (N/A as mp3). The original art-punks versus the original shoegazers. Two will enter, but only one will leave.

The commentators preferred the original by a 6-1 margin, but that’s only part of the story.

It was not an easy decision for some of the commentators and my heart was equally torn. Wire’s original is possibly the perfect pop song, and when Colin Newman yells “Chorus!” to…uh, announce the chorus, I don’t know how anyone could help from smiling. I have to be honest, though, the song took a slight hit when I learned where the map reference was. I have some personal issues with Des Moines, including weird a very bizarre milkshake experience and a run-in with a pack of angry, hissing geese. However, I have also seen that part of the country by air, and it seemed nice enough then.

On the other hand, the My Bloody Valentine version is one of those rare covers that seems to take the original to a new height. This is the song that made me feel like I was actually 30,000 feet above the ground. Although no one yells “chorus!”, the chorus here is sublime, and I would have no problem with it looping for about 2 hours (repetition is a form of change, you know). This version hypnotizes you so well you don’t even notice that there are less drum fills then on an AC/DC record.

So what will it be then? For me, it’s the cover. Wire’s original may be the perfect pop song, but like Mark E. Smith I dig repetition. I like things that drone. I like ring modulators and feedback. The original is a stone-cold classic but if I was stuck on a desert island, it’s MBV for me.

Cover v. Original: Map Ref. 41°N 93°W

Verdict: My Bloody Valentine

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Cover v. Original works like this: A contributor presents covers and originals in a post. Readers debate over which is better in the comments. Final verdict is given about one week later.

Cover v. Original: Map Ref 41°N 93°W

Fortuna Köln — Tue, 14 Oct 2008 21:57:26 +0000

A special version of Cover v. Original in honor of the twin highlights of my year. In this corner, Wire’s original “Map Ref 41°N 93°W“. In the other corner, My Bloody Valentine’s cover of the song.

A classic pop song, “Map Ref 41°N 93°W” was released as a single b/w “Go Ahead” in October of 1979. It also appeared on Wire’s 1979 album 154…

As the picture above demonstrates, the map reference in the title refers to an area near Des Moines, Iowa. I’m not sure if Wire have ever had the pleasure of visiting Iowa, but in 1979, they did have at least one fan in Des Moines. According to lyricist Graham Lewis, “[t]he song is about travelling. I flew from L.A. to New York in 1978 and crossed the mid-west, and it went on and on and on and on. It was just incredible that this grid system was imposed on an enormous stretch of land.”

This is one of the catchiest Wire songs and the multi-layered voice of Colin Newman sounds amazing on it. It should have been a hit, but unfortunately it wasn’t.

[audio:http://nonpretentious.com/wordpress/wp-content/uploads/2008/10/11-wire-map-ref-41n-93w.mp3]

vs.

In 1996 “Whore: Various Artists Play Wire” was released by WMO. As far as tribute albums go, it’s hit and miss, although some consider it suprisingly good. What made it interesting was that there was a new My Bloody Valentine song on it, one of only a handful (if that) of new material released by the band since 1991. Their take on “Map Ref 41°N 93°W” was amazing, and people thought it was a precursor for the new album… and I suppose it was might be a 12-15 year precursor.

Kevin Shields of MBV talked about the song in an interview with KUCI: “When the idea was put to us to do a Wire cover, I thought it would be good to do, if I could do one of the Wire songs that inspired me, I suppose, to not be afraid of being a pop group. Not a pop group with an intent to be pop stars, but a pop group in a sense that you’re writing music that’s essentially pop music, easy, instinctive music, but you’re also doing other stuff, because that comes the same way, as opposed to placing limits and saying, ‘Well, we can’t do that, it’s too catchy.’”

[audio:http://nonpretentious.com/wordpress/wp-content/uploads/2008/10/my-bloody-valentine-map-ref-41c2b0n-93c2b0w.mp3]

So, people, which one is it? The dreamy original or the ring-modulated cover? Colin Newman or Bilinda Butcher? This is gonna be a tough decision.

Cover v. Original Verdict: Lost in the Supermarket

Kiren Valjee — Sat, 11 Oct 2008 20:43:51 +0000

Our readers have overwhelmingly voted for the Clash (3-1).

I knew this would happen. In fact, it’s the whole reason I proposed this song. I’m subversive like that.

Here’s the deal. The Clash are good. Damn good. I mean phenomenally good. “Lost in the Supermarket” is one of my favorite songs. But what I’m afraid of with bands such as the Clash, is that they’ve become so entrenched as musical greats that we (by ‘we’ I mean ‘me’) are not allowed to say or believe that another band can cover their song and actually do it better. We are forced into believing that a groundbreaking band such as the Clash can do no wrong. That their creations are perfection and cannot be improved upon. Well, as much as I love the Clash, and I do love them enormously, I think that is rubbish.

The Afghan Whigs are a good band. Not a great band. Not even close to the level of the Clash. They are not creators or innovators like the Clash. But goddamn, they really took “Lost in the Supermarket” to a new level. This song is lyrically haunting. It’s surreal, topsy-turvy, and dream-like. And we have the Clash to thank for that.

I wasnt born so much as I fell out
Nobody seemed to notice me
We had a hedge back home in the suburbs
Over which I never could see

The Clash have written of an experience of loneliness and isolation. It’s figured in the surreal space of a supermarket, with never-ending aisles, a ghostly voice over the PA (not actually in the song, but the picture that is painted by the lyrics) announcing the specials that you can never actually find. There is the image of the ghostly/sterile overhead lights. All of this figured as metaphor for an equally dystopic life, from birth (falling out), arguing parents, self-medication, and a going nowhere adult existence. There is an idea of going through the motions, taking note of everything as inconsequential, and giving oneself over the inevitable ephemeral sense of being utterly and completely alone. Brilliantly appropriated to the overly capitalist concept of the supermarket. Everything you need but nothing useful. Possibly THE definition of loneliness.

This is brilliantly painted by the lyrics. However, it’s the Afghan Whigs who brilliantly perform them. The music they produce for the lyrics sonically mimics that emptiness and ghostly surreal existence/experience. From the start of the haunting background voice echoing lyrics and floating “oohs” and “ahhs.” It all serves to fill up space/silence in such away that we are forced to confront exactly what the sound is trying to hide, emptiness. I think this is where the Clash fails the song. Their simplistic (I don’t mean that in the pejorative) style of play leaves the lyrics to act on their own, which I believe in the case of this song, leaves one wanting. The Afghan Whigs give us a way to experience the song, rather than just listening to it.

Long live the Clash.

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Cover v. Original works like this: A contributor presents covers and originals in a post. Readers debate over which is better in the comments. Final verdict is given about one week later.

Cover v. Original Verdict: Friday Night, Saturday Morning

Melissa Sachs — Sun, 28 Sep 2008 05:28:57 +0000

Cover v. Original: Friday Night, Saturday Morning

Verdict: Francophiles love Nouvelle Vague

First, let me admit my own ignorance.

Before I heard the Nouvelle Vague version of this song, I had never heard of The Specials.

If that isn’t enough to turn you away from reading the rest of my review, let me also admit that when I think of ska, the scene in Clueless featuring the Mighty, Mighty Bosstones flashes through my mind.

There. I’ve laid it all out on the table. I’m totally unhip.

On the other hand, my naivete is precisely what qualifies me to choose Nouvelle Vague’s cover of the song: I’m a fan of French pop.

In fact, that’s what introduced me to the song in the first place. I hadn’t heard of Nouvelle Vague until a friend of mine, who I’ll characterize as a religious New Wave/post-punk fan, recommended the album to me. …after I disclosed my then-obsession with Brigitte Bardot, Jane Birkin, and Francoise Hardy.

(Evidence of Francophilia: “Je T’aime, Moi Non Plus” performed by Jane Birkin & Serge Gainsbourg)

“Friday Night, Saturday Morning” was a single track on a compilation that meant nothing to me but for my interests as a Francophile. I felt no nostalgia. I did not think of Manchester or Factory Records or the recession in Brixton. (Uh-oh. Foot in mouth. Did I forget to mention that I’ve never worshipped Ian Curtis?)

In this way, I approached the song in a similar way that the chanteuses approached it. (See further reading, article by Dorian Lynskey in The Guardian: “Camille [Dalmais], like most of [Nouvelle Vague's] singers, knew nothing of the songs she was reinterpreting, which is why the performances sound so liberated. If you don’t know the musical history, you can’t feel its burden.”)

I had no preconceived notions of how “Friday Night, Saturday Morning” was supposed to be played when I first heard it. I just knew that I liked the song. I played it again and again until I couldn’t get it out of my head.

Don’t get me wrong. It’s not that I dislike the Specials version. What’s not to like about a party-style song about a night of partying? The Specials’ lyrics match the catchy music and vice versa. It’s a dose of fun sans hangover.

On the other hand, Daniella D’Ambrosio’s innocent voice and Nouvelle Vague’s melancholy delivery is exactly what caught my attention. Although fervent fans may disagree, this ironic crooning towards self-destruction seems to acknowledge the hollow underbelly of any party scene, especially the New Wave/post-punk era.

Further Nouvelle Vague reading: Nouvelle Vague (Pitchfork), The Sydney Morning Herald, The Guardian (*recommended), Music OMH, PopMatters (*recommended), allmusic bio

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Cover v. Original works like this: A contributor presents covers and originals in a post. Readers debate over which is better in the comments. Final verdict is given about one week later.

Cover v. Original: Lost in the Supermarket

Kiren Valjee — Wed, 24 Sep 2008 02:18:36 +0000

Cover: Afghan Whigs

Original: The Clash

VOTE!

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Cover v. Original works like this: A contributor presents covers and originals in a post. Readers debate over which is better in the comments. Final verdict is given about one week later.