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Discussion in 'Bad Dog Cafe' started by Cadillac_Mike, Jan 23, 2021.
31 is awfully young to be shaking fists at clouds and ordering folks off lawns.
If Miley Cyrus had taken any risks in covering Heart of Glass you would have hated it even worse than what she did, and your rant would have been about how the new music is all terrible, worse than the old music. There's no way to win over someone who has gone into full "Crotchety" mode.
These guys do some good covers:
Oh, and the drummer is killing it!
I have been inspired by this thread to visually sketch out a philosophy on cover versions that I learned a long time ago. I didn't come up with it myself, but I refer to it often.
Behold, the Cover Matrix:
Basically, it breaks down cover songs into four types based on two criteria- how well known the song is, and whether the arrangement is faithful to the original or if the artist came up with their own.
Obscure songs are always worth covering, because they're generally going to be new to the listener. New arrangements of familiar songs are worth doing for the same reason. Doing a faithful cover of a well known song is a waste of time, because you'll never beat the original at its own game.
I don't understand this concept. If you go to a restaurant and are served moldy food, you shouldn't complain if you're not a chef?
I always wondered why "Hanging On The Telephone" was the only Blondie song I liked, until I realized they didn't write it. They do a smokin' version of the song, but I actually like the original better.
The Blondie version has everything going for it- the playing, singing, and production are all miles better than the Nerves' version. Blondie's version sounds like a record, the Nerves' version sounds like a demo (which is probably a pretty fair assessment of the conditions under which the two songs were recorded). But... when you hear the vocal, I don't believe for a minute that anybody ever left Debbie Harry hanging on a telephone. The guy from the Nerves sounds like he's a drowning man flailing for a rope that's just out of reach, he's swinging for the fences with every word. The drummer sounds like he's watching the studio clock ticking towards the hour, repeating "don't screw up, don't screw up, don't screw up..." in his head over and over as he sweats out another take. I don't know what you call that- tension, honesty, realism, but the Nerves put something in those grooves that Blondie didn't. Not everyone cares about that if they even notice it at all, but it means a lot to me.
I spent years moaning about why the things I liked were better than something else, until my best friend pointed out that whatever I may like, (along with whatever I 'know', however long I've been into something and whatever I may think) isn't necessarily any greater, better or more valid than anyone else's enjoyment of something.
As long as someone enjoys it, then go for it - even if I don't dig it.
. . . covers of songs are a bit like movie remakes.
They're all sh*t until you stumble across a good one, which can sometimes hit you in places that even the original couldn't reach.
The Thing, Invasion Of The Bodysnatchers, Scarface, The Fly, Evil Dead, The Blob, Cape Fear.
House Of The Rising Sun, Whisky In The Jar, All Along The Watchtower - all covers, better than the original material, IMO.
even if I think that 99 percent suck.
I prefer the Creedence version of I Put A Spell On You over the original tune.
Likewise with Johnny Cash's version of Hurt, The Darkness' version of Street Spirit and Bryan Ferry's version of Let's Stick Together.
Come on, you know there's a huge difference between 'calypso' and 'WAF calypso'.
That The B52's never did a cover of that is just a wasted opportunity.
either you like it or you don't, it's all sound
the modern music industry produces maximized profits
that's it and that's all.
I also think Miley Cyrus fans weren't even born when Blondie did "Heart of Glass".
Evil Dead... remake... if you're referring to the 2013 "version" I'm afraid from this point forward people can no longer take anything you have to say seriously.
Always puzzled me, jazz standards. It’s an oxymoron. The whole point of jazz is that it’s improvised and different every time.
The jumbo shrimp of music?
Anything Miley gets an immediate change of channels for me. I'm not sure why, she sings OK, not great. More of a personality thing I guess.
A dad in the business to promote her beyond what she could normally do, and still needs to do this for attention .... hmmm
As far as many modern performers, I guess I'm just old school; I like people to sing and play, or if they are just going to sing, be able to knock your socks off vocally vs dance and lip sync.
If every improvisation were just random and haphazard I don’t think many people would pay attention. Improvising over an established song framework seems fine to me.
Not a new thing - people been doing it forever. Just listen to Joan Jett's version of Crimson and Clover. It's just a cover of the original by Tommy James and the Shondells. Nothing added at all. And what about Sheryl Crow's version of Sweet Child of Mine? Not only did they not add to the original, it's like they subtracted all the good parts from the GnR version. Most covers/remakes by the already famous are shameful attempts to get another hit and stay relevant.
to be honest, once it reaches a certain distance from the original melody, stays there and gets into ‘play a note, any note’ territory, I don’t find it enjoyable nor pay attention. I often wonder if some, and only some, players do just pluck notes out of the air on the basis that any one can later be explained as ‘the forth note twice augmented in the key that’s a third from the original on its father’s side’........or something. Possibly too complex for me to understand but I want music to sound nice to my ears. Anything that does may lead me to find out the theory behind it so as I know how to use it myself. Perhaps I’m a heathen or philistine........but, having started in music as a drummer, I can take the knocks!
This is a fair point, yet the schtick of MC is pushing envelopes and tearing down boundaries. It would follow if the aesthetics were congruent beyond the semiotics of cult celebrity.
There is no way to win me over at this point, but for different reasons. The damage has already been done by the industry.
My opinions have little bearing on that which is and will be, but they (along with my memories of the 70’s and ‘80’s,) are all I have left in the wake of a complete upheaval of normalcy.
Those whose platform gives them untethered influence on the young and innocent I hold to high responsibility. I do not shake my fist at the cumulonimbus, clouds are not culpable. Entities, organizations, ideologies, groups, are the catalystsic perps.
If the bubblegums slip into the sheepcote with harmless fluff, the danger is compounded later when they bypass parental controls and start actively trying to reshape the values of those not old enough to think for themselves, clinging to little more than a smartphone to wind them through the canals.
In the years that follow, the village bears the burden and has to continually clean up an unmitigated mess.
There are plenty of parents that would like to see these types of stars just go away already, because their work is designed to tear down traditional values that seek to ensure health and stability into and through adulthood.
Every move an antagonistic artist makes is a corporately sponsored attack of sorts and it would be prudent if all media were viewed through the lens of anyone wishing to nurse the well-scrubbed through the underbellied labyrinth.
For instance, as I’ve said before, it is bad to lick hammers. On multiple levels.
I jest, but what’s the intent of sticking the tongue out indiscriminately or dancing provocatively? These are universal, primordial signals that need little clarification in the animal kingdom.
Our culture has become a train wreck where disturbed icons unabashedly disavow and ridicule the sacred. Like Leonard Cohen said, “There is a war.” But don’t even listen to what he said, look what the machine has done to him in the last thirty years.
The symbols and archetypes employed across channels of behavioral influence are relics of ancient frolics where the carnal, nihilistic, and decadent exhort the four winds and seasons for directions to the drive-thru.
How concerning that they now sit at meat without so much as raising a proverbial eyebrow. Daughters are complicity ushered into rites of passage that even the burden of masculinity couldn’t reconcile.
Not that Blondie ever represented purity, but during their reigning tenure the wayward kids for the most part at least respected their elders and parents and went on to become productive members of the hospitality industry.
She stole my soul in verse 3 of this cover:
Joan Jett’s signature song, I Love Rock and Roll, is a carbon copy cover too.
Like Joan Jett, Weird Al owns everything he covers.