Last Thursday, I had the distinct pleasure of bringing you Part One of an excellent Guest Post by my good friend Jay Trucker. In Thursday’s edition of “Pop Rocks! One Man’s Cover Song Garbage and Gold,” Jay took out the trash like Sid Phillips circa Toy Story 3. (Anyone else catch that cameo? It’s totally him). Today, we have the Hotness.
Pop Rocks! One Man’s Cover Song Garbage and Gold (Part II)
by Jay Trucker, special to
The Grizzly The Daily Cocca
Cover songs are forever. My guess is that the second song ever performed was a cover of the first. Some of these cover songs are inspired, many are horrifying. Artists who cover well-known songs are disadvantaged in that they are immediately judged against the original, though the instant recognition of a popular cover song often paves the way for radio play and concert sing-alongs. The best covers may pay tribute or put a new stamp on an old standard. The worst are soul-crushing cash-ins. Here are just a few of my personal favorites and least favorites. Feel free to add your own. But for the sake of my sanity, try not to defend Sheryl Crow.
Part II: The Gold
Heart – “Love Reign O’er Me” – http://www.youtube.com/watch?v=cQhAipNH0lM
This is my Johhny Cash “Hurt.” That is, this is the cover in which I really liked the original, then fell in love with the cover and couldn’t even listen to the original without contempt any longer.
The Who may have been relatively embarrassing geezers at last year’s Super Bowl, but when I saw them in ’02, Roger Daltry still had the pipes to nail the “looooooooooovvvveeeeeee” crescendo as if his drummer and bassist were alive. Then Ann Wilson had to come and just crush the whole thing. Wilson’s voice adds a depth to the entire song that makes Daltry look like an imposter in comparison.
Sister Nancy Wilson tosses in just enough guitar feedback to keep the rock ahead of the classical in this version, and she can pull off hard rock posturing better than Pete Townshend these days. But make no mistake about it—this song makes the list because of Ann’s voice. She sells the feeling of the song as if she wrote it, and when the mixing board gives her a hand at the end, pushing the finale into the stratosphere, we’re all the better for it. Catch Heart live and you’ll know what I’m talking about.
Disturbed – “Land of Confusion” http://www.youtube.com/watch?v=u6KXgjLqSTg
Nothing will ever terrify a child of the 80s the way Genesis’ “Land of Confusion” did. With its deranged Reagan puppets that looked just enough like the actual Reagans to frighten pre-pubescents, “Land of Confusion” would be memorable even if the song weren’t. And I’m still not sure why puppet Genesis is funny whereas puppet Reagans probably sent more kids into their parents rooms at night than the bogey man and Freddy Kreuger combined.
Disturbed, not a band one would typically consider subtle, succeed in their rendition by simply amplifying the heavy guitar licks of the original, which in turn makes the dystopic lyrics stand out more. It helps that, unlike many of least favorite cover nominees, Distrurbed was not forced to heteronormatize the song by changing any he/she pronouns. After all, this world “we” live in, and both man and woman will one day be subjected to the great flood the way the puppet Reagans were in ’86.
Disturbed singer David Draiman gives his typical tortured pet performance on “Land of Confusion,” barking through each line like a dog running to the end of a leash. I’m sure this is enough to make many Phil Collins fans unhappy. To be sure, Drummond’s growl scat is plenty annoying, especially when he’s offering the kind of mad at your dad garbage that Distrurbed often deals in, but when he adds asides like “ooh-ah-ah-ah-ah” or, as in “Land of Confusion,” “nyah-ah-ah” it kind of sounds like he’s possibly, maybe, just a little bit, making a gag of his over-the-top angsty rottweiler act.
He is joking, right? Kind of?
Jeffrey Gaines – “In Your Eyes” http://www.youtube.com/watch?v=o7WtavVdBCk
The history of “In Your Eyes,” at least, according to Wikipedia, says a lot about the song. Written by Peter Gabriel, the song was first released in 1986, then again in 1989 after it was featured in the movie Say Anything. Gaines recorded a stripped down version as a B side in 1992, then re-released two different versions of it in 2001. Herein lies the strength of the song, especially Gaines’ version—its timelessness. For this ballad about a guy who sees churches in eyeballs, Gabriel abandoned the giddiness that made 80s hits like “Sledgehammer” and “Shock the Monkey” a lot of fun, replacing it with heart-felt lyrics that are just complicated enough to not scream prom song. The original has some world music instrumentation and African yodeling (that exists, right?), which Gaines’ cover does not. See, this is the type of song that thrives on acoustic interpretation. Minus the bits of Toto-sounding keyboard and backup dancers, Gaines’ take lets his voice and the basics of the song do all the work. He proves that “In Your Eyes” does not need world music or exotic stage shows to succeed; its greatest asset is the core of the song itself.
Gaines stopped by my dear old alma mater while touring the college circuit back in ’98, and my then-roommate went to the show, hanging around afterwards just to get Gaines’ autograph for some girl he had an unrequited crush on. That night, I mistook his nightstand for the men’s room, spraying his Jeffrey Gaines autographed poster with recycled Natty Light. Sorry, Tom.
Best Bad Cover
Guns ‘n’ Roses – “Sympathy for the Devil” http://www.youtube.com/watch?v=d6UsdiJldmo
In the interest of full disclosure, I am an unabashed GnR diehard. But I like their version of the Stones’ “Sympathy for the Devil” much more than their more revered covers like “Live and Let Die” and “Knockin’ on Heaven’s Door.”
What makes this surprising is that the band itself hates this cover. Recorded for 1994’s Interview With a Vampire soundtrack, “Sympathy” is the last song released by Axl, Slash, Duff, and co. The band hated each other so much at this point, they couldn’t even be in the studio together when they recorded it. Slash said his own rendition of “Sympathy” (ok, his band’s; rumor is Slash’s guitar solo was redubbed by Axl loyalist Paul Huge) sounds like a band breaking up.
But that’s kind of cool, in its own way. A band of junkies covers a song by an older band of junkies featuring Satan as narrator. I’d say there’s a game of one-upmanship going on here, and Guns may have just topped the Stones in debauched sinfulness. Take that one to heart, Keith and Mick.
Oh yeah, and Mick Jagger never could sing. So there’s that.
Ugly Kid Joe – “Cats in the Cradle”
Not sure which list this belongs on, but it deserves mention.
Jay Trucker teaches writing at the Community College of Baltimore County and studies Sociology and Education at the University of Maryland Baltimore County. He occasionally writes about the Baltimore Orioles for WNST.net and nightlife for the Baltimore Sun blogs.
Jay, I can’t thank you enough for this fantastic double-feature. It’s a huge treat for readers of The Daily Cocca and an ever bigger treat for me. Folks, give Monster Truck some love in the comments so he comes back and see us soon. I bet he’d even take some requests. Oh, and Jay? nWo 4 Life.
20 thoughts on “Trucker’s Back: Pop Rocks! One Man’s Cover Song Garbage and Gold (Part II)”
I LOVED Cats in the Cradle by Ugly Kid Joe!!!
Did you get my email? K
I loved it, too. Got your email. Going to check it out as soon as I can this week. Speaking of which, here’s a pitch to everyone reading: Guest Posts are fun!!! K just sent me one and I’m looking forward to reading and posting it! Jay and K can do it…and you can, too! (Thanks K!)
Couldn’t agree more on the Sympathy for the Devil callout. It just felt like a class reunion; nobody seemed comfortable around the people they used to see have sex all the time.
Oh, and the nWo 4 Life line cracked me up.
I knew you’d like that, Eric.
The thing that really can cause confusion is when someone doesn’t know it’s a cover. I’ve gotten in many arguments over who sings a song that’s been covered 10 times. I really like your blog set up and you’re writing style. I’m new to the blogging world. My co-host and I review bands. We’re starting with small, unknown bands and would love to work our way up to bigger bands. If you’d like check us out.
Once again I love the site and the writing style.
Thanks so much! Will be adding your site to this week’s mental to read this. I’ll also bookmark it so I don’t forget to check it out. Looking forward to it.
Sometimes those cover arguments are fun, if only for getting to feel like Matt Pinfield for a few sweet seconds.
I spent today actually listening to just covers. I’m surprised how many I had. I really like covers that make the song sound completely different. Hey Ya by Obadiah Parker or anything by Richard Cheese gives the song a whole new feeling.
I’m a big fan of Pete Yorn doing “Dancing In The Dark,” John Cale’s version of “Hallelujah” (as well as Alison Crowe’s and of course Jeff Buckley’s) and Billy Bragg doing “Jerusalem.” Those were just on the top of my head. I’ve got thousands.
Check your Heart link. I clicked on it and it was removed. I think that was a sign that I am not supposed to watch any other person sing Reign O’er Me but the man behind blue eyes.
Wonder if this is a gender thing. I have a total and obvious crush on Nancy Wilson.
I saw Heart live last year and they closed with “Love, Reign O’er Me” (The Who) and “What Is And What Should Never Be” (Led Zeppelin), both of which were quite good. I like Disturbed’s version of “Land Of Confusion” simply because it caused me to listen to some Genesis.
I am apparently not as much of a G n’ R diehard as I thought I was, because I was unaware they had ever recorded a cover of “Sympathy For The Devil”. I’ll have to check that out immediately. But their version of “Knockin’ On Heaven’s Door” (Bob Dylan) is positively transcendent.
Others that I would have chosen:
– Jimi Hendrix’s version of “All Along The Watchtower”. Reimagining Dylan tunes as hard rock seems to be a good idea all around.
– Thin Lizzy’s interpretation of the folk song “Whisky In The Jar”, and Metallica’s cover of it. Had Lynott’s version been recorded later in his career, I bet it would have sounded a lot like the lean, mean Hetfield version and their own later, harder rocking songs like “Jailbreak”.
– Save Ferris’s version of Dexy’s Midnight Runners’ “Come On Eileen”. The lack of heteronormalization is strange, but I have too much nostalgic love for ska/punk music for this to not be in the list. It has a completely different (and in my opinion better) feel from the original.
– Cream’s rewriting of Robert Johnson’s “Crossroad Blues” into “Crossroads”. This does not quite count because in blues music old tunes are a more important part of every musician’s repertoire, but this recording practically invented blues-rock.
Great choices. As far as GnR covers, do you have “The Spaghetti Incident?”? (Double question marks is intentional, because Axl hilariously named the album in the form of a question.)
I love everything Heart does. I feel really bad for people who only know their 80s stuff. I have them doing a live version of “Rock and Roll” at the end of Greatest Hits. It’s amazing. I still need to check out their version of “Love, Reign O’er Me,” but I’m betting it’s awesome.
Speaking of Zeppelin. Chad, you should do a guest post for me about whether or not they plagiarized the blues or simply reinterpreted. And if they plagiarized Spirit, as goes the “Stairway” contention.
Of course I have “The Spaghetti Incident?”, but I cannot say that I like any of the tracks on it. G n’ R without Izzy isn’t really G n’ R at all.
P.S. Since a bad cover of “Sweet Child O’ Mine” featured prominently in the Garbage part of this post, what did people think of the Super Bowl halftime show? It was bad, but I enjoyed it more than any of the other songs they “played”. By the way, I think it may be time to restart a semantic crusade I was on when “boy bands” were popular: four people who vocalize and do not play instruments are not a band; they are a chorus.
Will.i.am is kind of band all by himself, though.
I didn’t watch the halftime show, but I do think it’s strange that they went with BEP after five years of going with performers that appealed to older people and younger people cool enough to know what’s up. I’m not knocking the Peas…I’d just rather see Tom Petty, U2, the Boss, Prince, etc in that spot.
When I heard that first set of notes of Sweet Child O’ Mine played by Slash I was really pumped….and then Fergie opened her mouth….
I have no reason at all to watch the Superbowl since I can see the commercials online, but I couldn’t miss the people upstairs laughing and dancing on the BEP set until Sweet Child O’ Mine started. Then I heard, “Why, Fergie? Why!”
So I keep hearing how bad the set was, but I haven’t had a chance to watch it or read much commentary on it Anyone?
Slash has such a long, tragic history of embarrassing himself with guest spots. He was doing TV spots with a fading Michael Jackson while GnR were the biggest touring rock band in the world. It’s like he’s on a mission to overexpose his image. The Super Bowl was a real turning point for Aerosmith. I think they traded in their last little bit of cred when they stood on stage with Britney, NSync and whoever else. This may be it for Slash.
Yeah, I think it’s “Slash and burn…”