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Old 11-11-2011, 04:42 PM   #31 (permalink)
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Originally Posted by VEGANGELICA View Post
While watching "The Full Monty" yesterday with my parents, I realized during the final scene that I'd heard the song, "You Can Leave Your Hat On," in another movie, "9 1/2 Weeks."

So I became curious about the song...although perhaps that was due to its tendency to be paired with scenes of stripping. I don't know, maybe that has something to do with it. Below is the original, followed by my ranking of its covers:

Randy Newman - "You Can Leave Your Hat On" (1972)
This song appeared in his album Sail Away. It's a good song. It serves its purpose well. My only real complaint about the original is that it lacks a little pep compared to some of the future covers.

* * * * * * *

Tom Jones - "You Can Leave Your Hat On" (1997)
Tom Jones covered the song for the British film "The Full Monty." This cover has a lot more pizzazz and excitement than the original. I like the trumpets! Below is the song used in the cute final scene from the movie, which I feel is sweet because it shows how anyone can be sexy, since sexy is an attitude and not just a look. My favorite scene happens earlier, though, and is when Dave, who feels self-loathing and shame over his weight, doesn't want to strip and asks his wife dejectedly, "Who would want to see this?!" She looks at him and answers, "I would." Awwwww.

* * *

Joe Cocker - "You Can Leave Your Hat On" (1986)

Used in the movie "9 1/2 Weeks." Maybe I'm biased by seeing Kim Basinger's playful striptease, but I think the cover is pretty nice.

* * *

Michael Grimm - "You Can Leave Your Hat On" (2010)
I didn't expect to like this cover, since I wasn't too impressed by Michael Grimm's style of singing on America's Got Talent, but I admit his voice works well for the song. This was a disappointment, because I liked disliking his music.

* * *

Ty Herndon - "You Can Leave Your Hat On" (1999)
I also didn't expect to like this version, since Ty is a country singer. Although I don't prefer his country accent and I feel the song seems a little bland, I still didn't hate the cover. I think that's because I feel the song is simply a good composition: short, sweet, amusing, seductive. Even a country singer couldn't kill off its good qualities entirely.

* * *

Three Dog Blind - "You Can Leave Your Hat On" (1975)

Sounds a little sluggish and I don't care so much for the singer's slurred voice or the organ (of course) in the background.

three dog blind is good but three dog night is even better
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Old 11-12-2011, 09:03 PM   #32 (permalink)
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Originally Posted by killcreek View Post
three dog blind is good but three dog night is even better
Gracious me, someone actually read to the end of my post!

Yeah, "Three Dog Blind" are pretty good...for a non-existence band.

I think I got confused by thinking of three blind mice.

* * * * *

Today the song "Blue Moon" was going through my head, and I determined to track down the origin of this song.

* * * * *

Written by Richard Rodgers and Lorenz Hart in 1934; first recorded by Connee Boswell (1935)
I learned from Wikipedia that "there is another verse that comes before the usual start of the song. Both Eric Clapton and Rod Stewart used it in their recent versions of the song. The last line of this extra verse is 'Life was a bitter cup for the saddest of all men.' " That line doesn't work so well when the singer is a woman, so that is probably the reason Connee did not sing it.

* * * * *

I'll post a few covers and rank them. It looks like there are a lot of covers...over 60. I'll have my work cut out for me if I listen to them all!

Cover #1:
Joe Robinson - "Blue Moon" (instrumental) (2007)
When deciding which covers to listen to, I picked Joe Robinson's as one of the first six because I read on Wikipedia that he is a 19 year old Australian virtuoso guitarist. I wanted to hear what a virtuoso guitar player would do with the song. He makes it interesting and I enjoyed his bluesy performance, so currently his cover is in The #1 Spot. You have to get through the little intro before you can see him play:

* * *

Cover #2
My Morning Jacket - "Blue Moon" (2005)
I didn't expect to like this cover after I read that My Morning Jacket is a rock band, but I was curious what they'd do to the song, so I listened. And although I think they got a little too electro-dancy with the beat, I liked the pretty, bell-like electric guitar, one of my favorite sounds to create with an electric guitar. I gave their cover extra points for surprising me with its sound and for making me feel a little wistful, which the other versions don't do.

* * *

Cover #3:
Johnny (Sha Na Na) - "Blue Moon"
I was familiar with this version from the movie Grease. I like that the song sounds solid and confident. I had thought it was the original version until I learned better (while creating this post):

* * *

Cover #4:
Greta Keller - "Blue Moon" (1935)
A very sweet version, I felt, with pretty, tinkling piano. I liked the depressed lyrics that proceeded the traditional "Blue Moon" song. I hadn't heard those before.

* * *

Cover #5
Frank Sinatra and Tommy Dorsey and His Orchestra - "Blue Moon"
Pleasantly jazzy and light

* * *

Cover #6
Rod Stewart - "Blue Moon"

Too gentle and syrupy. Sounds like elevator music or, more specifically, the background music that would be playing in Hobby Lobby. I know that, because I go to Hobby Lobby. They've got some really nice kids' crafts and paint stuff and fabrics.

* * *

More covers to come...only around (let's see now) 58 - 4 = 54 more. :/
Originally Posted by Neapolitan:
If a chicken was smart enough to be able to speak English and run in a geometric pattern, then I think it should be smart enough to dial 911 (999) before getting the axe, and scream to the operator, "Something must be done! Something must be done!"

Last edited by VEGANGELICA; 11-14-2011 at 12:29 AM. Reason: Added 4 more covers
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Old 11-13-2011, 12:22 AM   #33 (permalink)
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Louie Louie. Yes, I know it's been covered by just about anyone with a music career. I'm pretty sure 75% of the members of this board have covered it, even if they don't realize it; much like we were all in King Crimson for some period of time between their first album in 1969 and now. But anyway... so how can I rank THE cover song of all time? By limiting my choices to the versions that came out of the northwest garage rock scene of the early and mid 60's.

The Evolution of Louie

The Original: Richard Berry & The Pharaohs

The original was recorded in 1957. It had some moderate success on the Billboard charts, but didn't sell as well as Richard Berry and his record company hoped. He sold a portion of the rights to his company for $750 in 1959. The song became a popular song for DJs in the northwest and received more airplay than anywhere else in the country. It took hold of the garage rock scene thanks to...

Cover #1: The (Fabulous) Wailers- 1959

Record by the Wailers at Spanish Castle with Rockin' Robin on vocals. I like this version because of the groove it has. It rocks pretty hard for the late 50's as well, and I have always liked that (I always prefer garage rock and proto-punk over punk). Their recording started a contest between Paul Revere & the Raiders and the Kingsmen to record their own versions and see whose would be more popular.

Cover #2: Paul Revere & the Raiders- 1963

I really do not like this version at all. This is one of those recordings that tries to straddle the line between mainstream accessibility and a underground sensibility. I think it fails at both. It really feels a cover of the Wailers' cover, rather than the Raiders' take on the Richard Berry original. I do like the sax in this version, however. It was initially more successful that the Kingsmen version in the northeast.

Cover #3: The Kingsmen- 1963

This is the version everyone knows. It was recorded in the same studio that the Raiders' used. The Kingsmen's version really a piece of shiitake. The sound quality is amateur at best, singer comes in early and has his drummer do a quick fill to cover the mistake and the drummer also yells out clearly audible 'f*ck!' when he hit his drum sticks together. Did I mention the FBI spent millions of dollars and 31 months trying to find the song's dirty hidden meaning and found absolutely nothing? Yeah. But the song was and is a hit to this day. I like it for the organ being the driving force of the song rather than the sax and because it is the antonym of the Raiders' version.

Cover #4: The Sonics- 1965

I love this version and it easily is my favorite. The Sonics take the Kingsmen's 'We don't give a fudge!' attitude and basically record a punk rock song in 1965. The Sonics are easily one of my top 5 all time favorite bands, so I'm not exactly impartial. But, it's hard to argue with the crunch and buzz of this version. I think this one even stands up to the versions done by Motorhead and Black Flag.

Last edited by Electrophonic Tonic; 11-13-2011 at 12:28 AM.
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Old 08-15-2014, 08:23 AM   #34 (permalink)
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^ I was surprised to learn that the Kingsmen, who sing the best-known version of "Louie Louie," were this straight-laced looking band of white boys. I wouldn't have guessed that from listening to their song:

The Kingsmen - "Louie Louie"

I prefer their version, but I'd say second-best is the cover by Paul Revere and the Raiders, who still sounded a little indignant in 1986 that their 1963 cover of "Louis Louis" got beat out by the Kingsmen's. Hey, at least they were still performing it more than 20 years later!

Paul Revere and the Raiders - "Louie Louie" (performing in 1986)

* * *

Now on to my current song obsession:

THE ORIGINAL: "Goodbye To You" by Scandal (Patty Smyth)

A great song, Scandal's "Goodbye to You" has a driving beat that makes you want to dance, and excellent, sassy, emotional vocals by Patty Smyth, who sings them with attitude and strength. No cover comes close.

Scandal;Patty Smyth - Goodbye To You - YouTube

1st Place Cover: Alvin and the Chipmunks - "Goodbye To You"
It's memorable. I'll give it that. I don't like it, but I'll remember it:

2nd Place Cover: The Veronicas -- "Goodbye to You"
The Veronicas do a fine job, I suppose, but this dance-pop version just doesn't catch my interest like the original. I think it sounds too pretty and over-worked with all its sweet duets and instrumental fireworks. Sounds like a Disney channel song:

3rd Place Cover: Allison Smith - Kate and Allie - "Goodbye To You"
A fairly insipid, pleasant cover, it tries to match the original but lacks its pep and punch:

Originally Posted by Neapolitan:
If a chicken was smart enough to be able to speak English and run in a geometric pattern, then I think it should be smart enough to dial 911 (999) before getting the axe, and scream to the operator, "Something must be done! Something must be done!"
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Old 10-12-2016, 08:09 PM   #35 (permalink)
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A guy playing around on his guitar for his own amusement is nothing out of the ordinary, but one London evening in 1966, that strumming would end up reverberating for decades:
Sitting at a party strumming his guitar, the Scottish troubadour Donovan came upon a riff that seemed to hypnotize him. He played it over and over again and was told later he worked on it for seven hours. This riff was to become “Season of the Witch.”
The song was polished up and presented to the public on Donovan´s next album, Sunshine Superman, and on an album largely devoted to psychedelic whimsy (check out Legend of a Girl Child Linda, for example), Season of the Witch is notable for being “a dark and prophetic song suggesting the new age dawning brings with it darkness”. There is a limit to how dark Donovan can sound, but the surging organ and lyrics about some unspecified unease do a pretty good job of conjuring up a swirling sinister mood.

This is Donovan, years later, talking about his song:
"There was a feeling, even then, that all was not perfect in the Garden of Eden. Dealers were moving into bohemia and hard drugs were on the fringes. The song was also prophetic. It was about the bust, although of course I couldn't know that then….. There is a line in it that goes ‘Some cat looking over his shoulder at me’ … Soon these bad cats would come calling at my door.”
He was referring to his arrest for possession of cannabis—the first high-profile London drug bust of the sixties—which prevented him from travelling to the United States, where he was due to perform at the Monterey Pop Festival, in June, 1967. "Sadly, for Donovan, the summer of love was over before it began", one pop journalist wrote.

And the same year as Donovan's bust I enter the story myself: a schoolboy watching tv one evening as Julie Driscoll wove her extraordinary magic. Brian Auger takes the song for a leisurely excursion, but it's JD’s captivating voice and performance that stays in the mind:

Next up, chronologically, is probably best known cover of SotW, on the 1968 Super Session album. The highlights for me are the organ/guitar jams that punctuate this version. As the song develops, a horn section comes in with some great touches too. For me, as for many I imagine, this version is the yardstick against which subsequent covers must be measured:

And subsequent versions there are in abundance - here's a list which should explain why I'm not reviewing them all:

Spoiler for List of versions:
• Julie Driscoll covered the song in 1967 along with Brian Auger and the Trinity on their album Open.[citation needed]
• Al Kooper and Stephen Stills covered the song on their album Super Session in 1968; the album's other featured guitarist, Mike Bloomfield, performed a version with Kooper at a New York "Super Session" concert eventually released on disc in 2003 as The Lost Fillmore Concert Tapes 12-13-68, though a subsequent bootleg concert recording features Bloomfield declining requests for the song saying he disliked the song. The Kooper-Stills version has been sampled in a number of hip-hop songs. This version also features "Fast" Eddie Hoh on drums, who played on Donovan's original recording.[citation needed]
• Sam Gopal covered the song on their album Escalator.
• The acid rock band Vanilla Fudge achieved mild success with a cover of "Season of the Witch" on their album Renaissance in 1968.
• Terry Reid performed a ten-minute cover of this song on his 1968 debut album, Bang Bang, You're Terry Reid.
• Pesky Gee! (pre-Black Widow psychedelic rock band) covered the song on their album Exclamation Mark in 1969.
• Covered regularly by Alan Hull, Doug Griffin and John the Baptist on N.E. Folk Circuit in 1969-70.
• South-African psychedelic band Suck recorded a version of the song on their album Time to Suck in 1970.[6]
• Hole covered "Season of the Witch" during their MTV Unplugged session.[citation needed]
• Boston band Heretix covered the song on their EP AD in 1990.
• The alternative rock band Luna released it as a single (1996).
• The phony 'supergroup' The Masked Marauders performed the song on their lone LP, with vocals by Bob Dylan and Mick Jagger impersonators.
• A demo of the song appears on Jellyfish's Bellybutton & Spilt Milk Deluxe Reissues as well as the Fan Club (From the Rare to the Unreleased... And Back Again) box set.
• Covered by Robert Plant several times live. The first was in the medley "That's Why I'm In The Mood" in 1993, and in 1999 when he toured with his short lived project Priory of Brion.
• Covered By Dr. John on the Blues Brothers 2000 Soundtrack; Dr. John's version plays during the scene in which the band arrives at the swamp lands, and is featured on the soundtrack album.[citation needed]
• Lou Rawls recorded the song for his 1999 album Brotherman!: Lou Rawls Sings the Hits.
• Covered by the darkwave band Babylonian Tiles.
• Covered by Joan Jett on her released-in-Japan album Naked.
• Covered by Richard Thompson on the Crossing Jordan soundtrack album Jordan Crossing; this version was used in opening sequence of an episode of the television series, Crossing Jordan.
• Covered by Jenny Devivo on the Hed Kandi Nu Cool 4 album in 2000.
• Covered by Vanilla Fudge on the album The Return from 2002.
• Covered by Bobby Hughes (remix from Mike Bloomfield, Al Kooper, Stephen Stills Super Session album) in May 2005
• The Strangelings included a cover of "Season of the Witch" on their album of the same name in 2007.
• Covered by Karen Elson as a b-side to her first single from her 2010 debut album
• Covered by poet and musician, Alan Pizzarelli as "Boneyard, Ghoul of the Blues" on his 2010 debut album, Voices from the Grave.
• Covered by the band Tea Leaf Green many times live.[citation needed]
• Covered by Mundy.
• Covered by the Chicago protopunk garage band Little Boy Blues, flip side to their 1967 release "Great Train Robbery".
• Covered by the folk singer Cindy Lee Berryhill on Straight Out of Marysville 1996.
• Covered by the Minneapolis-based alternative hip hop artist Astronautalis on the album Gazing with Tranquility: A Tribute to Donovan.

Just a couple of versions I'd like to mention quickly:
> Vanilla Fudge start out well enough, but when a solumn voice intones, “ And here we sit immersed in a liquid sea of love…” I was too embarrassed to continue.
> Dr. John’s version was disappointing; just the usual Dr.J treatment.
> Richard Thompson plays very well on a track made for a tv series.
> “Boneyard Ghoul of Blues” aka Alan Pizarelli creates a spooky atmosphere, stopping just short of parody:-


So why is SotW such a popular song among musicians? Well, we have actual musicians on MB who are invited to answer that question with more authority than me, but I did find this out:

i) Jimmy Page played the guitar on Donovan’s original, which is presumably why Led Zep regularly used it as their sound check/ warm up song when they were touring. That’s got to be pretty good publicity for a song.

ii)According to Mojo magazine: “ This song is ideal for long jams. The two main chords (A and D) are played during the verses, and during the chorus there are three chords (A, D and E).”

iii) Donovan again: "Season of the Witch continues to be a perennial influence because it allows a jam – not a 12-bar or Latin groove, but a very modern jam... it makes me very proud that I've created certain forms that other bands can get off on, to explore, be experimental, or just break the rules."
Did you ever hear of having more than you wanted? So that you couldn’t want anything else and then started looking for something else to want? It seems like we’re always searching for something to satisfy us, and never finding it. - Susan Eloise Hinton, 1967

Last edited by Lisnaholic; 10-12-2016 at 08:22 PM.
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Old 10-22-2016, 05:33 PM   #36 (permalink)
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^ Grading the versions of this song is pretty simple. Modestly-issued as a B-side, the original from Them was outstripped by the leering sexual version from Jim Morrison [Lisna Discretion advised with the lyrics, ok?]:-

In the past a female singer's version of a male-point-of-view song often sounded a little false, regardless of how carefully the pronouns were swapped from "her" to "him". In a surprise development, Pattie Smith completely side-stepped that awkwardness; she took on the Morrisons- Van and Jim- and outdid them both by turning Gloria into a proud declaration of lesbian lust:-

Plus, Pattie Smith's lyrics are gloriaous (geddit?) :-

Spoiler for Pattie's Gloria:
Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me

People say 'beware!'
But I don't care
The words are just
Rules and regulations to me, me

I walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her

Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine

And then I hear this knock on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, 'oh my God here's midnight!'
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine

And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is G-l-o-are-i-a
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria

I was at the stadium
There were twenty thousand girls called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong, ding dong, ding dong, ding dong.
Ding dong, ding dong, ding dong, ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh you were so good, oh, you were so fine
And I gotta tell the world that I make her mine, make her mine
Make her mine, make her mine, make her mine, make her mine

G-l-o-are-i-a ...

And the tower bells chime, 'ding dong' they chime
They're singing, 'Jesus died for somebody's sins but not mine.'

Gloria, G-l-o-are-i-a ...
Did you ever hear of having more than you wanted? So that you couldn’t want anything else and then started looking for something else to want? It seems like we’re always searching for something to satisfy us, and never finding it. - Susan Eloise Hinton, 1967
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