Cover Connection: Red Red Wine

Most people are familiar with UB40's version of "Red Red Wine." The band's infectious, reggae tinged cover topped the US charts on this day in 1988, although it took five years to get there. The song was a reissue of UB40's first version, with the addition of a "toast" by the band's resident rapper Astro. Both versions trace their influence to a 1969 ska flavored version recorded by Jamaican artist Tony Tribe.
But the original song, written and recorded by Neil Diamond in 1968, was a slower mournful number--a drunk's lament over lost love.

Red, red wine
Go to my head
Make me forget that I
Still need her so

Red, red wine
It's up to you
All I can do, Ive done
But memories wont go
No, memories wont go

I'd have sworn
That with time
Thoughts of you
Would leave my head
I was wrong
And I find
Just one thing
Makes me forget

Red, red wine
Stay close to me
Dont let me be alone
It's tearing apart
My blue, blue heart

Lyrically, it's a great song (as are many Diamond songs) that lends itself to a variety of styles. For example, a full-blown country-style version (with background singers and strings) was also released in 1968 by Jimmy James and the Vagabonds. However, none of these versions tracked very high on the charts. The success of UB40's version of "Red Red Wine" has to be attributed to the dance clubs of the late 1980s where it was one of the most requested songs--and, importantly, featured a solid beat that made it easy to mix. From that point on "Red Red Wine" went mainstream with heavy airplay.
A few years later, "Red Red Wine" went full circle, with a new version again by Neil Diamond, but this time with a nod to UB40's reggae stylings.

Listen to:
Red Red Wine, original version by Neil Diamond--1968

Red Red Wine, country version by Jimmy James and The Vagabonds--1968

Red Red Wine, ska version by Tony Tribe--1969

Red Red Wine, reggae version by UB40 1983

Jim Carrey Is The Walrus

What the...I...how...hmmm. Have you seen this clip of Jim Carrey (yes Jim Carrey) singing "I Am The Walrus" as George Martin produces and conducts a studio orchestra? The song is from Martin's 1998 album In My Life. It's...ummm... different to say the least. I don't recall ever hearing about this album, but a quick stop by Amazon reveals that, in addition to Carrey, it was loaded with guest performers such as:
• Bobby McFerrin ("Come Together")
• Goldie Hawn ("A Hard Day's Night")
• Jeff Beck ("A Day In The Life")
• Celine Dion ("Here, There & Everywhere")
• Vanessa-Mae ("Because")
• John Williams ("Here Comes The Sun")
• Billy Connolly ("Being For The Benefit Of Mr. Kite")
• George Martin ("The Pepperland Suite")
• Phil Collins ("Golden Slumbers, Carry That Weight, The End")
• George Martin ("Friends And Lovers")
• Sean Connery ("In My Life")

Normally these things leave me cold (if you remember the BeeGees Sargent Pepper fiasco you know what I mean), but I have to say this really isn't bad. It might be better if you listened to it rather than watch the video, unless you're a Carrey fan and don't mind his incessant mugging. But he does some interesting interpretations of the lyrics that I liked. And, knowing full well what he was up against, during the fade out he says, "There, I did it! I've defiled a timeless piece of art! For my next trick I'll paint a clown face on the Mona Lisa, while using the Shroud of Turin as a drop cloth!"

Saturday Smackdown: Samson

YouTube is the internet version of the American Idol auditions where you see some very good singers and many more who.... well, let's just say their ambition is greater than their talent. But, because YouTube makes video sharing so easy, everybody gets their 3:30 of fame.
Regina Spektor's "Samson" (from Songs, later redone for Begin to Hope) has to be one of the most covered songs on YouTube, with dozens of different versions. It's easy to see why: the piano part isn't that hard (even I can play it) and the vocal melody is in the ballpark for most voices. The YouTubers perform on piano, guitar, and even a capella. Some of the vocals are quite good, and some not so much, but they win points for even trying (because I don't think I'd have the nerve to do it myself). What surprised me was how many males took on the song. Here are some of the better versions.

Here's the original by Regina Spektor:


This version by maia4246 ids pretty good.


Here's another version by PussySugar, who may or may not be a Bond Girl:


Here's one of several versions by males. This is Thornton on guitar:


Blacklilly1704 performed the song in an adult vocal competition. She doesn't say whether she won, but it's a nice rendition.


PianoBea does a pretty good job with this version:


Another male version, this time by Matthew Luke Sandoval:


Elenaaaxx has a nice voice in this version:


This is a surprisingly good version by a guy named Prince Estaris:


Another good acoustic version by a guy named Jest who says it's "slightly weird a guy singing about a guy. Girls do covers that end up about girls singing abotu girls all the time though."


Finally, a female acoustic version by ockstarray:

Chaka Khan Says Funk This

The inimitable Chaka Khan is back with a new album of cover songs and original material called Funk This that hit the stores yesterday. She puts her own twist on some classic tracks of the past, including Joni Mitchell's "Ladies Man," Prince's "Sign 'O' The Times," and Jimi Hendrix's "Castles Made of Sand." Michael McDonald, sounding grittier (for a change) and more soulful than he's ever sounded, duets on his "You Belong To Me," and Mary J. Blige joins in on "Disrepectful."
At 54, Khan still sounds as good as she did back in the days of Rufus. You can listen to the entire album at her website.

Track list: "Back In The Day," "Foolish Fool," "One for All Time," "Angel," "Will You Love Me?" "Castles Made of Sand," "Disrespectful," "Sign 'O' The Times," "Packed My Bags," "Ladies Man," "You Belong To Me," "Hail To The Wrong," and "Super Life."

Sunday Soul: Who’s Lovin’ You

This song was written by Smokey Robinson for his group the Miracles in 1960. Robinson was, and is, one of the finest songwriters who ever put pen to paper, but he is also blessed with a remarkable voice, and this tune gave him a chance to really stretch his vocal chops. As such it would become a showcase piece for all kinds of singers in ensuing years.
As with many Smokey Robinson-penned tunes of the time, “Who’s Lovin’ You” was also recorded by other artists in the Motown family, including the Temptations, whose lead singer David Ruffin offered a smoother, more controlled rendition than that of the Miracles on their album The Temptations Sing Smokey in 1965. It’s a great performance, but somehow lacking in the urgency suggested by the original. The Supremes and Brenda Holloway also recorded the song for the Motown label. Brenda and the Tabulations, a quartet from Philly with a puzzling name, released their take on the song 1967, and scored a modest hit. Brenda Payton’s clear voice is a pleasure to listen to, but the song isn’t that far removed from the Temptations’ version.
By this time, “Who’s Lovin’ You” had reached “standard status” in many artists’ repertoires, and served as a show-stopper for those vocalists who could take advantage of the song’s considerable room to improvise.
Of course, not every version of the song does it justice. In 1965 the British duo of Peter & Gordon included “Who’s Lovin’ You” on their album True Love Ways. Don't get me wrong--Peter & Gordon delivered many lasting great and hits in the 60s, but their take on “Who’s Lovin’ You” is a big miss. (You’ll find just a sample of it here—any more than that might be considered cruel and unusual punishment.)
The song was taken to a new level in 1969 when it was recorded by the Jackson Five and released as the B-side to the group’s first single “I Want You Back.” Talk about a debut! Between the infectious A-side and the knockout punch B-side, it was clear the Jackson family had a goldmine in their eighth child.
The Jackson's version of “Who’s Lovin’ You” is, in my book, the clear winner in this battle of covers. Michael Jackson sounds like he’s channeling the great gospel and blues singers of the past as he delivers the vocal with a level of soulfulness and feeling only hinted at in earlier versions. And remember--the kid is only 11 years old at the time of this recording!
Jackson’s rendition of the tune became the blueprint for other versions to follow, especially those by Terence Trent D'Arby (who has reinvented himself and these days goes by the name Sananda Maitreya) on his 1987 debut album Introducing the Hardline According to Terence Trent D'Arby, and by Perfect Blend on their 1996 Masterpiece album. For all their considerable vocal abilities, the two singers rely heavily on the Jacskon version (although the coda on D’Arby's version is pretty remarkable in it's own right).
En Vogue tacked an a capella first verse/chorus of "Who’s Lovin' You" onto the beginning of their "Hold On" debut single in 1990, but I would really love to have heard them do the entire thing.

Listen:

Smoky Robinson & the Miracles Who’s Lovin’ You

The Temptations Who’s Lovin’ You

Brenda and the Tabulations Who’s Lovin’ You

Peter & Gordon Who’s Lovin’ You (sample)

The Jackson Five Who’s Lovin’ You

Terrence Trent D’Arby Who’s Lovin’ You

Cover Connection: Sugar, Sugar

It's been called the “perfect pop song” and the “blueprint for Bubblegum,” but whatever you want to call it, "Sugar, Sugar" is a classic tune. It hit number one on this day in 1969 and stayed for four weeks. In England it hung on to the top spot for two months. Written by Jeff Barry (who produced The Monkees) and Andy Kim, the song was featured on The Archies cartoon show and very quickly climbed the charts.

Like the greatest of pop songs, "Sugar, Sugar" has hook chorus that you can’t get out of your mind once you hear it. (Don’t forget the “ba-ba-ba-ba ba-baa” part either.)

Sugar, ah honey honey
You are my candy girl
And you've got me wanting you.
Honey, ah sugar sugar
You are my candy girl
And you got me wanting you

I just can't believe the loveliness of loving you.
(I just can't believe it's true).
I just can't believe the wonder of this feeling too.
(I just can't believe it's true).

(chorus)

When I kissed you girl, I knew how sweet a kiss could be.
(I know how sweet a kiss can be)
Like the summer sunshine pour your sweetness over me.
(Pour your sweetness over me).

Oh (sugar) pour a little sugar on me honey
(honey honey) Pour a little sugar on me baby
I’m gonna make your life so sweet (Yeah Yeah Yeah.)
Pour a little sugar on me (oh yeah)
Pour a little sugar on me honey
Pour a little sugar on me baby
I’m gonna make your life so sweet (hey hey hey)
Pour a little sugar on me honey.

(chorus)

Some trivia about the song:
• The woman who sang Veronica's line (I'm gonna make your life so sweet) on The Archies' version was Toni Wine, a singer and songwriter who also gave us "A Groovy Kind of Love" and "Candida."
• Also helping out on background vocals was Ellie Greenwich, who wrote dozens of top 40 hits including The Ronettes' "Be My Baby" and the Crystals' "Da Doo Ron Ron."
• The title of one of Def Leppard's most popular songs, "Pour Some Sugar On Me," was taken from the coda section of The Archies' hit.
• Archies lead singer Ron Dante was also lead singer of The Cufflinks who scored a top 10 hit with "Tracy." The Cufflinks were, like The Archies, a nonexistant group, with Dante singing all the vocal parts in the studio. When the song became a hit, a group was assembled (without Dante) to perform it live.

"Sugar, Sugar" has been covered by lots of people, including Tom Jones and Ike & Tina Turner. It also has appeared as a Latin tune by Banda Comala, as a Ska tune by Big Thomas, and as a standard addition to dozens of kid-song records.

But while I’ll always have a soft spot for the original Archies version, I think the best cover is Wilson Pickett's take on "Sugar, Sugar," released in 1970. Pickett scrapes off the bubblegum and sings the song with an R&B grind that gives a whole new meaning to “sugar.” The song was one of Pickett's last hits for Atlantic before leaving the label in 1972.

Listen to The Archies Sugar, Sugar

Listen to Wilson Pickett Sugar, Sugar

Wilson's new song cycle based on That Lucky Old Sun

Brian Wilson backed by his touring band, appeared on stage Monday night in London's Royal Festival Hall to showcase a new nine-song suite, based on the 1949 song "That Lucky Old Sun."
Wilson is just one of many artists to have covered the tune over the years. If you don't know the song, it's a great gospel-tinged lament for relief from the burdens of hard work:

Up in the mornin'
Out on the job
Work like the devil for my pay
But that lucky old sun got nothin' to do
But roll around heaven all day.

I have versions of the song by Ray Charles (which I think is the best of the bunch) as well as Jerry Lee Lewis and even Tom Jones. It was also recorded by Frankie Lane, Louie Armstrong, and Vaughn Monroe among others. I recommend Charles' version which appears on his Ingedients in a Recipe for Soul.

Wilson's new version may not qualify as a true cover--maybe it's more of a tribute version--as "That Lucky Old Sun" apparently serves as the launching point for a new song cycle. According to NME.com, "Similar in style to his legendary album Smile... the songs, with lyrics by Scott Bennett and interspersed with narratives provided by Smile lyricist Van Dyke Parks, were a sentimental ode to Los Angeles and Wilson's past."

The 45-minute set closed with a cover of The Beatles' "She's Leaving Home," in honor of the 40th anniversary of Sgt. Pepper. Wilson also covered "Johnny B Goode" as well as several Beach Boys tunes.

Here's the full set list:

"Girl Don't Tell Me"
"Dance Dance Dance"
"Salt Lake City"
"Catch A Wave"
"Then I Kissed Her"
"In My Room"
"Do You Wanna Dance?"
"When I Grow Up (To Be A Man)"
"She Knows Me Too Well"
"I'd Love Just Once To See You"
"Do It Again"
"Please Let Me Wonder"
"California Girls"
"Sloop John B"
"Wouldn't It Be Nice"
"God Only Knows"
"Heroes And Villains"
"Good Vibrations"
That Lucky Old Sun: "Morning Beat"/"Good Kind Of Love"/"Forever You'll Be My Surfer Girl"/"Mexican Girl"/"California Role"/"Oxygen To The Brain"/"Midnight's Another Day"/"Going Home"/"Southern California"
"Johnny B Goode"
"I Get Around"
"Help Me Rhonda"
"Barbara Ann"
"Surfin" USA"
"Fun Fun Fun"
"She's Leaving Home"

Let's hope a recording of this show surfaces sometime soon.

Cover Connection: For No One

There are lots of times when the cover version of a song is far superior to the original version. Johnny Cash's version of "Hurt" is a good example. Even Trent Reznor concedes that Cash "made the song his own" (to borrow a phrase from Paula Abdul).
Another song where that applies is the Beatles' classic "For No One" from the Revolver album.
Frankly I always hated the song. I thought it was just a bit of Paul McCartney fluff, not far removed from the ghastly Ob-La-Di, Ob-La-Da as far as I was concerned. But then, years later I heard the song done by Ricke Lee Jones on her album It's Like This. It was a revelation. This was the way the song should have been done the first time.
McCartney's version of the song features a jaunty little melody and bouncy lyrics about... about the breakup of a relationship? Wha? A happy tune about such a dark time? Talk about a lyric/melody mismatch.
Jones, on the other hand, slows the song down and brings a level of emotion to the song that Sir Paul never approached. A good part of that is due to her vocals which are painful (and I mean that in a good way). When she sings, "And in her eyes you see nothing, no sign of love behind the tears, cried for no one, a love that should have lasted years," the pain of a love gone sour is there. Now it's one of my favorites.

Listen here:

For No One, The Beatles

For No One, Rickie Lee Jones