In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by The Sun City Diplomats playing "Romance In Durango"
Thoughts on Original:
Containing the best opening line of any Dylan song (which places it high on the best opening line of any song ever) "Romance In Durango" is a movie played out over violins, words, dead bodies, love, adventure and life. Since we are starting Travers week, why not pull out a western tinged Dylan tune that talks about a horse taking him to Durango? A fantastic burst of creative songwriting and exhilarating playing it is a timelessly fantastic tune.
Cover:
Thoughts On Cover Artist:
Over the last few weeks we had taken on some high level artists, but this series also combs through youtube finding unknown's to put in the spot light. So today we take a look at the The Sun City Diplomats. The band seem to be a folksie group from NYC who put out an album back in 2008 that you can check out here. They seem to have evolved or at least moved west and become a new group LA Gypsy.
Thoughts On Cover:
A fairly sparse and straight ahead cover of a complex tune that really doesn't lend itself to easy stroll through chords and measures. This version toes the line between the recorded version of the tune and the fantastic live interpretation Dylan performed on the Rolling Thunder Tour. The singing is strong and confident while the stopping and starting music adds some drama. A good if not earth shattering cover of a really really fun tune.
Grade: C+
Wilson's Take:
Janasie's Take:
Showing posts with label Janasie. Show all posts
Showing posts with label Janasie. Show all posts
Monday, August 20, 2012
Monday, August 13, 2012
Dylan Cover #53 Duran Duran "Lay Lady Lay"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Duran Duran playing "Lay Lady Lay"
Thoughts on Original:
My thoughts from when we tackled a different cover of this one: Excellent track and the first time the world heard Dylan's new singing style, which would only last for Nashville Skyline. This song is the standout track from this album, it is a classic and so simple, yet sweet and timeless. One of Dylan's best tracks, the closest to country he ever got and an fantastic piece of music.
Cover:
Thoughts on Cover Artist:
Duran Duran broke big in music a few years before I really started listneing to things, hence they always struck me as my older sisters friends band...most new wave acts fit that bill. I never dug their style or substance except for their big hits. "Rio" is a decent track and "Hungry Like A Wolf" is by far their best song...then again I am not a huge fan and someone should feel free to correct me if I am wrong.
Thoughts on Cover:
Woof. Surprisingly this one was done in the early/mid 90's and appeared on Duran Duran's Thank You album but it still has all the trappings of early 80's cheese. The almost Caribbean sounding keyboards are bizarre when the track starts. The one thing that I found interesting was the loud/quite dynamic, and Simon Le Bon's singing in the chorus. Other then that the song some how manages pulling off being overly dramatic and boring...Not the best combination for a cover.
Grade: D-
Wilson's Take:
Janasie's Take:
Thoughts on Original:
My thoughts from when we tackled a different cover of this one: Excellent track and the first time the world heard Dylan's new singing style, which would only last for Nashville Skyline. This song is the standout track from this album, it is a classic and so simple, yet sweet and timeless. One of Dylan's best tracks, the closest to country he ever got and an fantastic piece of music.
Cover:
Thoughts on Cover Artist:
Duran Duran broke big in music a few years before I really started listneing to things, hence they always struck me as my older sisters friends band...most new wave acts fit that bill. I never dug their style or substance except for their big hits. "Rio" is a decent track and "Hungry Like A Wolf" is by far their best song...then again I am not a huge fan and someone should feel free to correct me if I am wrong.
Thoughts on Cover:
Woof. Surprisingly this one was done in the early/mid 90's and appeared on Duran Duran's Thank You album but it still has all the trappings of early 80's cheese. The almost Caribbean sounding keyboards are bizarre when the track starts. The one thing that I found interesting was the loud/quite dynamic, and Simon Le Bon's singing in the chorus. Other then that the song some how manages pulling off being overly dramatic and boring...Not the best combination for a cover.
Grade: D-
Wilson's Take:
Janasie's Take:
Monday, July 30, 2012
Dylan Cover #52 Elkie Brooks "The Groom's Still Waiting At The Altar"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Elkie Brooks playing "The Groom's Still Waiting At The Altar"
Thoughts on Original:
Kept off the original Shot Of Love for reasons only Dylan knows it was included later on CD releases of the album and stands as one of Dylan's most interesting and strongest songs from this period. Using religious imagery Dylan pants a vibrant picture of a division between narrator and "Claudette" singing incredibly powerfully over some fantastic musicianship. Having a ringing chorus adds to the joy as does one of the coolest couplets Dylan composed in the 80's: "What can I say about Claudette?/Ain't seen her since January,/She could be respectably married/or running a whorehouse in Buenos Aires."
Cover:
Thoughts on Cover Artist:
I had never heard of Elkie Brooks until I heard this cover. Coming into it fresh it is obvious she has a great blues voice and the English singer seems to have had a long and fruitful career.
Thoughts on Cover:
It being summer and weddings all around this song has been stuck in my head so I figured I would look for a cover of it and this one is a winner. A rollicking blues take that lets the focus stay on Brooks' voice and doesn't take away from the original in the gender switching of the lyrics (minus the title line of course) from Claudette to Ornette. That is always something that interests me, here Elkie sings it from a women's point of view, but I love to see artists decisions on changing genders with lyrics. Musically the chops displayed are tight, fun guitars pianos and sax's all around. Worth a listen.
Thoughts on Original:
Kept off the original Shot Of Love for reasons only Dylan knows it was included later on CD releases of the album and stands as one of Dylan's most interesting and strongest songs from this period. Using religious imagery Dylan pants a vibrant picture of a division between narrator and "Claudette" singing incredibly powerfully over some fantastic musicianship. Having a ringing chorus adds to the joy as does one of the coolest couplets Dylan composed in the 80's: "What can I say about Claudette?/Ain't seen her since January,/She could be respectably married/or running a whorehouse in Buenos Aires."
Cover:
Thoughts on Cover Artist:
I had never heard of Elkie Brooks until I heard this cover. Coming into it fresh it is obvious she has a great blues voice and the English singer seems to have had a long and fruitful career.
Thoughts on Cover:
It being summer and weddings all around this song has been stuck in my head so I figured I would look for a cover of it and this one is a winner. A rollicking blues take that lets the focus stay on Brooks' voice and doesn't take away from the original in the gender switching of the lyrics (minus the title line of course) from Claudette to Ornette. That is always something that interests me, here Elkie sings it from a women's point of view, but I love to see artists decisions on changing genders with lyrics. Musically the chops displayed are tight, fun guitars pianos and sax's all around. Worth a listen.
Monday, July 16, 2012
Dylan Cover #51 Rick Nelson "She Belongs To Me"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Rick Nelson playing "She Belongs To Me"
Thoughts on Original:
The first song in this series was a different cover of this track, here is what I wrote about it then and still feel the same way:
This is a gem of a song, a twisted tale that entwines beauty and deceit, darkness and sparkling Egyptian Red Rings. One of his best in it's mystery, elusiveness and bitter biting undertones; really pure Dylan and one of his all time classics. Loved it when I first heard it, still love it today, the fact that it hasn't been played over the last 3 years is a shame.
Cover:
Thoughts on Cover Artist:
I am not really all that familiar with Ricky Nelson outside of the "Garden Party" song and story that goes together with it. His early "rock" hits are fun like "Hello Mary Lou" and "Travelin' Man" but he never really stuck in my brain much, maybe this will get me to re-listen to him a bit. His cover of "Bye Bye Love" is an all time classic though, can't argue with that one...
Thoughts on Cover:
This west coast country-tinged take on the Dylan track is a really nice fit. The steel guitar in particular sounds right at home on this track. Some of the cutting mystery has been replaced with an easy going charm, but it doesn't damage the track at all. The backing vocals actually improve things as they come on perfectly and sooth, a nice little way to start off the week.
Grade: B
Wilson's Take:
Janasie's Take:
Thoughts on Original:
The first song in this series was a different cover of this track, here is what I wrote about it then and still feel the same way:
This is a gem of a song, a twisted tale that entwines beauty and deceit, darkness and sparkling Egyptian Red Rings. One of his best in it's mystery, elusiveness and bitter biting undertones; really pure Dylan and one of his all time classics. Loved it when I first heard it, still love it today, the fact that it hasn't been played over the last 3 years is a shame.
Cover:
Thoughts on Cover Artist:
I am not really all that familiar with Ricky Nelson outside of the "Garden Party" song and story that goes together with it. His early "rock" hits are fun like "Hello Mary Lou" and "Travelin' Man" but he never really stuck in my brain much, maybe this will get me to re-listen to him a bit. His cover of "Bye Bye Love" is an all time classic though, can't argue with that one...
Thoughts on Cover:
This west coast country-tinged take on the Dylan track is a really nice fit. The steel guitar in particular sounds right at home on this track. Some of the cutting mystery has been replaced with an easy going charm, but it doesn't damage the track at all. The backing vocals actually improve things as they come on perfectly and sooth, a nice little way to start off the week.
Grade: B
Wilson's Take:
Janasie's Take:
Monday, July 2, 2012
Dylan Cover #50 Betty LaVette "Most Of The Time"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Betty LaVette playing "Most of The Time"
Thoughts on Original:
One of the best songs in Dylan's repertoire from any of his era's and also one of the most important, "Most Of The Time" proved Dylan was far from done as an artist. Showing up on the return to form album Oh Mercy, "Most Of The Time" is a revelation with it's descending bass line and powerfully stark lyrics. There is a palpable sense of desperation, longing, sadness, a nervous sense of things are falling apart around me; this tune touches a nerve and makes you stand up and take notice.
Cover:
Rather then a video today, you get just the song...don't worry, its worth it:
Thoughts on Cover Artist:
An artist that I had never heard of until I stumbled upon this cover. Betty LaVette has had a full but not superstar career. The actress/singer has only recently jumped into the national scene and with a voice as powerful as this it is a shame it took this long.
Thoughts on Cover:
This is yet another example of an artist making Bob's song their own. Betty's soulful version of this track is gorgeously pain filled and expressive touching an emotional area not approached on the original. With Bob's amazing creation of the tune there was a sense of desperation and despair; LaVette injects passion, fire and more heart working up an inner beast as opposed to looking in from the outside. Her addtion of calling the person in the song a "mother..." is inspired, this one is a keeper all around.
Musically the track flows, ditching the classic descending bass line for a smoother roll-out which suites Betty perfectly. If you needed another reason to purchase the fantastic Amnesty International Chimes of Freedom disk, here it is.
Grade: A
Wilson's Take:
Janasie's Take:
Thoughts on Original:
One of the best songs in Dylan's repertoire from any of his era's and also one of the most important, "Most Of The Time" proved Dylan was far from done as an artist. Showing up on the return to form album Oh Mercy, "Most Of The Time" is a revelation with it's descending bass line and powerfully stark lyrics. There is a palpable sense of desperation, longing, sadness, a nervous sense of things are falling apart around me; this tune touches a nerve and makes you stand up and take notice.
Cover:
Rather then a video today, you get just the song...don't worry, its worth it:
Thoughts on Cover Artist:
An artist that I had never heard of until I stumbled upon this cover. Betty LaVette has had a full but not superstar career. The actress/singer has only recently jumped into the national scene and with a voice as powerful as this it is a shame it took this long.
Thoughts on Cover:
This is yet another example of an artist making Bob's song their own. Betty's soulful version of this track is gorgeously pain filled and expressive touching an emotional area not approached on the original. With Bob's amazing creation of the tune there was a sense of desperation and despair; LaVette injects passion, fire and more heart working up an inner beast as opposed to looking in from the outside. Her addtion of calling the person in the song a "mother..." is inspired, this one is a keeper all around.
Musically the track flows, ditching the classic descending bass line for a smoother roll-out which suites Betty perfectly. If you needed another reason to purchase the fantastic Amnesty International Chimes of Freedom disk, here it is.
Grade: A
Wilson's Take:
Janasie's Take:
Monday, June 18, 2012
Dylan Cover #49 Ani DiFranco "Hurricane"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Ani DiFranco playing "Hurricane"
Thoughts on Original:
One of the most iconic songs in Bob Dylan's repertoire and famously returned him to "topical" song writing that many of his fans clamored for. Coming on the story song centric album Desire, the song and attached cause obviously invigorated Dylan at a crucial point in his life, and gave us the cool term "pig circus" to boot. You can argue the facts and the case if you want to but simply as a work of art "Hurricane" holds a title belt.
Cover:
Thoughts on Cover Artist:
I have never really given Ani DiFranco a serious listen, I have heard her in passing, but don't own any of her albums or really even know any of her hits. This is probably a fault of mine.
Thoughts on Cover:
If you are going to cover one of the most instantly recognizable songs in rock and roll history, you better put your own stamp on it...and Ani does just that. Her breathy vocals mixed with the sparse drumming, electronic flairs, funky keyboards and wah-wah guitar that washes away into the corners of your ears make this an exciting ride. This is a really adventurous cover, and whenever an artist takes a chance and it works it should be rewarded, no matter what you think of DiFranco, you deserve to give this one a listen:
Grade: A
Wilson's Take:
Janasie's Take:
Thoughts on Original:
One of the most iconic songs in Bob Dylan's repertoire and famously returned him to "topical" song writing that many of his fans clamored for. Coming on the story song centric album Desire, the song and attached cause obviously invigorated Dylan at a crucial point in his life, and gave us the cool term "pig circus" to boot. You can argue the facts and the case if you want to but simply as a work of art "Hurricane" holds a title belt.
Cover:
Thoughts on Cover Artist:
I have never really given Ani DiFranco a serious listen, I have heard her in passing, but don't own any of her albums or really even know any of her hits. This is probably a fault of mine.
Thoughts on Cover:
If you are going to cover one of the most instantly recognizable songs in rock and roll history, you better put your own stamp on it...and Ani does just that. Her breathy vocals mixed with the sparse drumming, electronic flairs, funky keyboards and wah-wah guitar that washes away into the corners of your ears make this an exciting ride. This is a really adventurous cover, and whenever an artist takes a chance and it works it should be rewarded, no matter what you think of DiFranco, you deserve to give this one a listen:
Grade: A
Wilson's Take:
Janasie's Take:
Monday, June 4, 2012
Dylan Cover #48 Liam Clancy "Rambling Gambling Willy/Restless Farewell"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a few live covers by Liam Clancy playing "Rambling Gambling Willy" and "Restless Farewell"
Thoughts on Original:
Since we took last week off there is a two-fer today with "Rambling Gambling Willy" which is a gorgeous little number about someone I would like to have a beer with before we get "Restless Farewell". One of Dylan's many tunes based off of a old Irish folk song, this time it is "The Parting Glass". Lyrics seem bittersweet as time often is, and I always go back to the version he and his crack band played at the Frank Sinatra's 80th Birthday Party, you can see the video here. I always loved that version, with the added strings, and I am intrigued why he chose to play that song for Frank Sinatra's 80th birthday, when every other performer was doing Sinatra tunes, odd all around. Far from his sweetest song, but you can sense that Irish longing, behind lines and phrases which makes Liam covering it ideal.
Cover:
Thoughts on Cover Artist:
One of the first voices I ever heard sing songs outside of my family was Liam Clancy. I can remember the 8 tracks stuck in the radio of my fathers car as he sang along with The Clancy Brothers as we drove around. I love the man and have seen him multiple times here in the states, it is easy to see why he has so many fans in this clip. His history lesson is as engaging as his songs as he talks about the White Horse Tavern, where I just happened to drink at this St. Patrick's day with Ceez. Dylan himself is quoted as saying Liam was the "best ballad singer I have ever heard in my life." What more could you want?!?
Thoughts on Cover:
Fantastic, stripping the songs down, and letting the voice take over, with some excellent backing flairs, like the Ukelele in "Rest Farewell" and by leaving out the last verse, he takes some of the bitter sting out of the tune. "Rambling Gambling Willie" is pretty straight ahead and not much is needed to make it special. When Liam passed in 2009 an epic voice was silenced, videos like this though will always live on and feel alive forever. Raise a pint and sing along.
Grade: A
Wilson's Take:
Janasie's Take:
Thoughts on Original:
Since we took last week off there is a two-fer today with "Rambling Gambling Willy" which is a gorgeous little number about someone I would like to have a beer with before we get "Restless Farewell". One of Dylan's many tunes based off of a old Irish folk song, this time it is "The Parting Glass". Lyrics seem bittersweet as time often is, and I always go back to the version he and his crack band played at the Frank Sinatra's 80th Birthday Party, you can see the video here. I always loved that version, with the added strings, and I am intrigued why he chose to play that song for Frank Sinatra's 80th birthday, when every other performer was doing Sinatra tunes, odd all around. Far from his sweetest song, but you can sense that Irish longing, behind lines and phrases which makes Liam covering it ideal.
Cover:
Thoughts on Cover Artist:
One of the first voices I ever heard sing songs outside of my family was Liam Clancy. I can remember the 8 tracks stuck in the radio of my fathers car as he sang along with The Clancy Brothers as we drove around. I love the man and have seen him multiple times here in the states, it is easy to see why he has so many fans in this clip. His history lesson is as engaging as his songs as he talks about the White Horse Tavern, where I just happened to drink at this St. Patrick's day with Ceez. Dylan himself is quoted as saying Liam was the "best ballad singer I have ever heard in my life." What more could you want?!?
Thoughts on Cover:
Fantastic, stripping the songs down, and letting the voice take over, with some excellent backing flairs, like the Ukelele in "Rest Farewell" and by leaving out the last verse, he takes some of the bitter sting out of the tune. "Rambling Gambling Willie" is pretty straight ahead and not much is needed to make it special. When Liam passed in 2009 an epic voice was silenced, videos like this though will always live on and feel alive forever. Raise a pint and sing along.
Grade: A
Wilson's Take:
Janasie's Take:
Monday, May 21, 2012
Dylan Cover #47 Legion of Mary "Tough Mama" Live
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Legion of Mary playing "Tough Mama"
Thoughts on Original:
One of my favorite Dylan songs off of the underrated Planet Waves disk. "Tough Mama" has a groovy beat that The Band plays perfectly and some engaging lyrics that contain bite and humor while never going for jokes or becoming mean spirited. One of Dylan's best and a hidden gem if people have never heard it.
Cover:
Thoughts on Cover Artist:
We have talked a lot about the Grateful Dead on our site, but not so much about spin off projects. Legion of Mary hold a special place because of Jerry's tight friendship with Merl Saunders and the horn/flute playing of Martin Fierro who adds extra color to the mix. A side project that cooked, unfortunately it didn't last very long.
Thoughts on Cover:
Like most things Jerry Garcia related the magic is in the in-between sections when the band can get hairy and cut loose. Garcia leads thing with his magical guitar tone and the band plays the music to the song about 3 times through clocking in at over 8 and half minutes. Things aren't too wandering though as the solo's are focused on the songs theme, and Fierro in particular adds a spice withe the Sax.
One of the coolest things about this cover is when it was recorded it was still super new, just having been released the year before, it was fresh and alive for Bob, just as it was for Legion of Mary.
Grade B+
Wilson's Take:
Janasie's Take:
"Tough Mama" is THE motha-luvin' jam - literally. It contains the phrase "hotter than a crotch" and yet can still be taken seriously. If that ain't song writing brilliance, what is? Jerry and company bust out another version of this gem as the opening track on the 2005 Legion of Mary release and, wow, what an opener. The rest of that two-disc joint pleases the ears as well, so give it a listen. Buy stock in this cover, it bears a big stamp of approval.
Thoughts on Original:
One of my favorite Dylan songs off of the underrated Planet Waves disk. "Tough Mama" has a groovy beat that The Band plays perfectly and some engaging lyrics that contain bite and humor while never going for jokes or becoming mean spirited. One of Dylan's best and a hidden gem if people have never heard it.
Cover:
Thoughts on Cover Artist:
We have talked a lot about the Grateful Dead on our site, but not so much about spin off projects. Legion of Mary hold a special place because of Jerry's tight friendship with Merl Saunders and the horn/flute playing of Martin Fierro who adds extra color to the mix. A side project that cooked, unfortunately it didn't last very long.
Thoughts on Cover:
Like most things Jerry Garcia related the magic is in the in-between sections when the band can get hairy and cut loose. Garcia leads thing with his magical guitar tone and the band plays the music to the song about 3 times through clocking in at over 8 and half minutes. Things aren't too wandering though as the solo's are focused on the songs theme, and Fierro in particular adds a spice withe the Sax.
One of the coolest things about this cover is when it was recorded it was still super new, just having been released the year before, it was fresh and alive for Bob, just as it was for Legion of Mary.
Grade B+
Wilson's Take:
Janasie's Take:
"Tough Mama" is THE motha-luvin' jam - literally. It contains the phrase "hotter than a crotch" and yet can still be taken seriously. If that ain't song writing brilliance, what is? Jerry and company bust out another version of this gem as the opening track on the 2005 Legion of Mary release and, wow, what an opener. The rest of that two-disc joint pleases the ears as well, so give it a listen. Buy stock in this cover, it bears a big stamp of approval.
Monday, May 14, 2012
Dylan Cover #46 Joe Cocker "Seven Days" Live
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Joe Cocker of "Seven Days"
Thoughts on Original:
A mysterious mid seventies rocker that Dylan apparently gave away to Ron Wood or Eric Clapton, I can never remember and don't have my linear notes handy, but it seemed to be a song that he recorded live during some Rolling Thunder shows, then just kinda forgot about. Must be nice to be able to do that with a great song...The live version on The Bootleg Series 1-3 is the first place I heard this track and it is one that while amazing, doesn't always stick with you, which lends itself perfectly for a cover. Now I need to go back and listen to Bob's version.
Cover:
Thoughts on Cover Artist:
Perhaps the most famous "cover artist" there is thanks to Mr. Cocker's electric renditions of The Beatles which made him famous. Here he decides to tackle a lesser known Dylan tune with a very game band (and gamey smelling by the looks of them). I have always enjoyed Cocker's takes on tunes, but never really loved anything he has done, Mr. Janasie actually gave me the only album I own by Cocker, the famous Mad Dogs and Englishmen, which pretty much covers all the bases with him for me.
Thoughts on Cover:
The band really seems to be loving a chance to spread out for this one. The bass and drums start the motor and keep it humming for the full 5 minutes as things start sparking all around. The organ solo is sweet as is the piano call and answer piece. This is a very musical cover, and it is surprising to see someone as recognizable as Cocker to be more of a side player then the focal point. He has his patented spazz out moments (while looking like shit all around) but does an admirable job with the lyrics. This time however it is the band who shine brightest.
Grade: B-
Wilson's Take:
Janasie's Take:
"Seven Days" was written in Dylan's Rolling Thunder days, maybe my favorite Bob Dylan era for live performances. It is a good, though perhaps unremarkable tune, but I like the way it rolls along. Mr. Cocker, in his turn, is truly hot stuff! As videos of Joe Cocker tend to go, this one is pretty amusing. But the band is jumpin' and Joe is as smokey and soulful as ever. Mad Dogs and Englishmen features this Brit at his peak and is one of the finest live recordings out there, so give that a listen as well. For you Dylan-philes, it has a great cover of "Girl from the North Country" featuring Joe and Leon Russell on vocals. And Bobby was even in the audience to hear it.
Thoughts on Original:
A mysterious mid seventies rocker that Dylan apparently gave away to Ron Wood or Eric Clapton, I can never remember and don't have my linear notes handy, but it seemed to be a song that he recorded live during some Rolling Thunder shows, then just kinda forgot about. Must be nice to be able to do that with a great song...The live version on The Bootleg Series 1-3 is the first place I heard this track and it is one that while amazing, doesn't always stick with you, which lends itself perfectly for a cover. Now I need to go back and listen to Bob's version.
Cover:
Thoughts on Cover Artist:
Perhaps the most famous "cover artist" there is thanks to Mr. Cocker's electric renditions of The Beatles which made him famous. Here he decides to tackle a lesser known Dylan tune with a very game band (and gamey smelling by the looks of them). I have always enjoyed Cocker's takes on tunes, but never really loved anything he has done, Mr. Janasie actually gave me the only album I own by Cocker, the famous Mad Dogs and Englishmen, which pretty much covers all the bases with him for me.
Thoughts on Cover:
The band really seems to be loving a chance to spread out for this one. The bass and drums start the motor and keep it humming for the full 5 minutes as things start sparking all around. The organ solo is sweet as is the piano call and answer piece. This is a very musical cover, and it is surprising to see someone as recognizable as Cocker to be more of a side player then the focal point. He has his patented spazz out moments (while looking like shit all around) but does an admirable job with the lyrics. This time however it is the band who shine brightest.
Grade: B-
Wilson's Take:
Janasie's Take:
"Seven Days" was written in Dylan's Rolling Thunder days, maybe my favorite Bob Dylan era for live performances. It is a good, though perhaps unremarkable tune, but I like the way it rolls along. Mr. Cocker, in his turn, is truly hot stuff! As videos of Joe Cocker tend to go, this one is pretty amusing. But the band is jumpin' and Joe is as smokey and soulful as ever. Mad Dogs and Englishmen features this Brit at his peak and is one of the finest live recordings out there, so give that a listen as well. For you Dylan-philes, it has a great cover of "Girl from the North Country" featuring Joe and Leon Russell on vocals. And Bobby was even in the audience to hear it.
Monday, April 23, 2012
Dylan Cover #45 Kina Grannis "Boots of Spanish Leather"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Kina Grannis "Boots Of Spanish Leather"
Thoughts on Original:
From the first time we did someone covering this tune, here are my thoughts:
One of the first Dylan songs that really bowled me over. I know on the "Times They Are a-Changin'" there are a ton of epic songs but this was the track that stayed with me the longest. It is ghostly in it's presentation and still just as dynamic now as when he wrote it back in 1963. My favorite show I have seen Dylan play live was back in 1999 at the RPI Fieldhouse. The whole night was great, my favorite backing band of his since The Band, a tiny venue and a setlist that was magical. One of the major highlights was "Boots of Spanish Leather", I need to break out that bootleg this week and re-live that great night.
Cover:
Thoughts on Cover Artist:
When this tune was picked this week I had no idea who Kina Grannis was, but after a quick Google search I found out that she was the Doritos Girl from a few Super Bowls back. Can't say I knew anything else about her except that she won that contest so I do not have much more to base opinions on, going in pretty fresh to this one.
Thoughts on Cover:
Kina's take on this classic Dylan tune is nice, simple and detracts nothing from the original. It also doesn't add much, but at the end when she mentions her love for the lyrics and that fans should go listen to it, there was a moment I hadn't realized that (I am guesing here) a majority of her fans have not heard Dylan before, or this song. Maybe that's not the case but opening up the artist to new fans is something we try to do every week and she has a much bigger reach, so good on you Kina for a straight ahead cover.
Grade: C+
Wilson's Take:
Janasie's Take:
Thoughts on Original:
From the first time we did someone covering this tune, here are my thoughts:
One of the first Dylan songs that really bowled me over. I know on the "Times They Are a-Changin'" there are a ton of epic songs but this was the track that stayed with me the longest. It is ghostly in it's presentation and still just as dynamic now as when he wrote it back in 1963. My favorite show I have seen Dylan play live was back in 1999 at the RPI Fieldhouse. The whole night was great, my favorite backing band of his since The Band, a tiny venue and a setlist that was magical. One of the major highlights was "Boots of Spanish Leather", I need to break out that bootleg this week and re-live that great night.
Cover:
Thoughts on Cover Artist:
When this tune was picked this week I had no idea who Kina Grannis was, but after a quick Google search I found out that she was the Doritos Girl from a few Super Bowls back. Can't say I knew anything else about her except that she won that contest so I do not have much more to base opinions on, going in pretty fresh to this one.
Thoughts on Cover:
Kina's take on this classic Dylan tune is nice, simple and detracts nothing from the original. It also doesn't add much, but at the end when she mentions her love for the lyrics and that fans should go listen to it, there was a moment I hadn't realized that (I am guesing here) a majority of her fans have not heard Dylan before, or this song. Maybe that's not the case but opening up the artist to new fans is something we try to do every week and she has a much bigger reach, so good on you Kina for a straight ahead cover.
Grade: C+
Wilson's Take:
Janasie's Take:
Monday, April 16, 2012
Dylan Cover #44 Jimi Hendrix "Drifters Escape"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Jimi Hendrix doing "Drifters Escape"
Thoughts on Original:
"Drifters Escape" is a fun small song on John Wesley Harding coming after the long and rambling "Ballad of Frankie Lee & Judas Priest" and the toss off "Dear Landlord". It falls somewhere between those two and is probably a better song then both because of that, it has mystery, powerful lyrics and a strong performance. It must mean a lot to Bob since he choose to never play it live until a few days after the Rodney King verdict in Oregon on 4-30-1992. Trials and verdicts not the best at doing what they both should...
Cover:
Thoughts on Cover Artist:
Umm....He's Jimi Hendrix. He is the best Electric Guitar player in Rock and Roll History...Those are my thoughts. On a personal note he is the gateway artist who broke me through to really great music out there, maturing me as a fan.
Thoughts on Cover:
We never got a around to Hendrix's most famous cover of Dylan in our Best of (maybe he will make the cut this year) but "Drifters Escape" has a hard big brother to follow when it comes to these two hooking up on tunes. There may have never been a better combo and Hendrix death hurts as the two could have continued the covers or even better Hendrix would have probably toured with Dylan at some point...which would have been super interesting...anyway..
This version is dynamite and wasn't even made for public consumption. Given more time, a studio to toil around in and a few vocal re-do's this could have become an all-time classic. As it stands today it is still a damn fine version:
Grade A-
Wilson's Take:
Janasie's Take:
I believe I have talked about John Wesley Harding here before, so I am going to get straight to the cover. There aren't many artists who compete with Bob Dylan for my highest affections, but my admiration for Jimi may even exceed my regard for Bobby D. I learned to love music listening to my parents' LPs, primarily releases from these two artists. As a result, it is impossible for me to be objective here. Hendrix was the complete package - he had the song crafting ability of a Dylan or a Simon and he was a transcendent instrumentalist. He was a true, hardcore fan of Dylan's music and you can see the lyrical influence in several of his songs.
His version of "Drifter's Escape" is like a lot of his unfinished studio work, unpolished, but still a diamond all the same. In addition to "All Along the Watchtower", I'd love to see his spectacular version of "Can You Please Crawl Out Your Window?" featured here some time in the future. Get your hands on as much Jimi Hendrix as you can.
Thoughts on Original:
"Drifters Escape" is a fun small song on John Wesley Harding coming after the long and rambling "Ballad of Frankie Lee & Judas Priest" and the toss off "Dear Landlord". It falls somewhere between those two and is probably a better song then both because of that, it has mystery, powerful lyrics and a strong performance. It must mean a lot to Bob since he choose to never play it live until a few days after the Rodney King verdict in Oregon on 4-30-1992. Trials and verdicts not the best at doing what they both should...
Cover:
Thoughts on Cover Artist:
Umm....He's Jimi Hendrix. He is the best Electric Guitar player in Rock and Roll History...Those are my thoughts. On a personal note he is the gateway artist who broke me through to really great music out there, maturing me as a fan.
Thoughts on Cover:
We never got a around to Hendrix's most famous cover of Dylan in our Best of (maybe he will make the cut this year) but "Drifters Escape" has a hard big brother to follow when it comes to these two hooking up on tunes. There may have never been a better combo and Hendrix death hurts as the two could have continued the covers or even better Hendrix would have probably toured with Dylan at some point...which would have been super interesting...anyway..
This version is dynamite and wasn't even made for public consumption. Given more time, a studio to toil around in and a few vocal re-do's this could have become an all-time classic. As it stands today it is still a damn fine version:
Grade A-
Wilson's Take:
Bob Dylan still believes that Jimi Hendrix's cover of "All Along the Watchtower" trumped the original. Yet this cover of "Drifter's Escape" sounds so much like a stab at Hendrix's "Watchtower" that - way up here in the future - I'm inclined to believe that some Mac-equipped teenager mashed up Hendrix's voice to posthumously manufacture it.
This wasn't meant for release, so any critique must be limited...but like all great talents, Hendrix either owns his form or entirely dispossess it. On "Drifter's Escape", Hendrix's guitar crashes upon the track while his voice runs off in another direction...apart, they are two forces of nature, together, on this track, they never catch up with each other and it leaves the end-product stilted...and we're left to wonder what could have been with a sober sound engineer and few more takes.
Janasie's Take:
I believe I have talked about John Wesley Harding here before, so I am going to get straight to the cover. There aren't many artists who compete with Bob Dylan for my highest affections, but my admiration for Jimi may even exceed my regard for Bobby D. I learned to love music listening to my parents' LPs, primarily releases from these two artists. As a result, it is impossible for me to be objective here. Hendrix was the complete package - he had the song crafting ability of a Dylan or a Simon and he was a transcendent instrumentalist. He was a true, hardcore fan of Dylan's music and you can see the lyrical influence in several of his songs.
His version of "Drifter's Escape" is like a lot of his unfinished studio work, unpolished, but still a diamond all the same. In addition to "All Along the Watchtower", I'd love to see his spectacular version of "Can You Please Crawl Out Your Window?" featured here some time in the future. Get your hands on as much Jimi Hendrix as you can.
Monday, April 9, 2012
Dylan Cover #43 Esteban Paez "Maybe Someday"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Esteban Paez doing "Maybe Someday"
Thoughts on Dylan Original:
Not to be confused with the excellent "Someday Baby" from the recent Modern Times today we have "Maybe Someday" from Knocked out Loaded, one of the weakest releases of Dylan's career. What makes the Bard endlessly fascinating is that you can usually find a gold nugget mixed in with the slag, I have a friend who swears by "Brownsville Girl" on this disk, safe to say "Maybe Someday" is not that winning gem. Dylan may have never sounded more cheesy 80's here with razor thin production, back up singers and a Casio keyboard sounding horn section. His singing is actually pretty powerful, but over the weak ass production it is forgettable, it would be interesting however to hear he, himself re-do this one with his current band...hmm
Cover:
Thoughts on Cover Artist:
I had not heard of Esteban Paez, but after checking out a google search, I believe that this is a collection of his tunes. It looks like he is an Argentinian singer and a fairly decent one at that. Not speaking the language though I am not sure much more about him, and had no knowledge of him pre-hearing this cover.
Thoughts on Cover:
Well it took us 43 shots but we finally came up with a bilingual cover of Dylan's work. I find it fascinating to translate his songs into other languages and really wish I could speak one to hear how it works switching things up. Are the turn of phrases the same? Do the little jokes work? This tune doesn't have too much too it lyrically, so it is a good one for an ignorant American to tackle. Musically the slide guitar is really great and at the forefront of the tune, spicing things up. The crash cymbals are a decent touch, if a bit theatric, while the strumming acoustic keeps it organic.
The language barrier isn't much of a hindrance for enjoyment and Paez has done a nice job singing and playing on this one, without too much to work with from the original...
Grade C+
Wilson's Take:
Janasie's Take:
Thoughts on Dylan Original:
Not to be confused with the excellent "Someday Baby" from the recent Modern Times today we have "Maybe Someday" from Knocked out Loaded, one of the weakest releases of Dylan's career. What makes the Bard endlessly fascinating is that you can usually find a gold nugget mixed in with the slag, I have a friend who swears by "Brownsville Girl" on this disk, safe to say "Maybe Someday" is not that winning gem. Dylan may have never sounded more cheesy 80's here with razor thin production, back up singers and a Casio keyboard sounding horn section. His singing is actually pretty powerful, but over the weak ass production it is forgettable, it would be interesting however to hear he, himself re-do this one with his current band...hmm
Cover:
Thoughts on Cover Artist:
I had not heard of Esteban Paez, but after checking out a google search, I believe that this is a collection of his tunes. It looks like he is an Argentinian singer and a fairly decent one at that. Not speaking the language though I am not sure much more about him, and had no knowledge of him pre-hearing this cover.
Thoughts on Cover:
Well it took us 43 shots but we finally came up with a bilingual cover of Dylan's work. I find it fascinating to translate his songs into other languages and really wish I could speak one to hear how it works switching things up. Are the turn of phrases the same? Do the little jokes work? This tune doesn't have too much too it lyrically, so it is a good one for an ignorant American to tackle. Musically the slide guitar is really great and at the forefront of the tune, spicing things up. The crash cymbals are a decent touch, if a bit theatric, while the strumming acoustic keeps it organic.
The language barrier isn't much of a hindrance for enjoyment and Paez has done a nice job singing and playing on this one, without too much to work with from the original...
Grade C+
Wilson's Take:
Have you ever woken up outside, under the blazing sun, with no idea where you are? You're covered in sweat, glitter, mascara, and what appears to be (someone else's) dried blood? Well, evidently so has Esteban Paez. That's exactly what this cover of "Maybe Someday" sounds like - a night in Mexico gone awry in all the right ways.
"Maybe Someday" is a great tune because in many ways it's an upside-down version of "Idiot Wind" - Dylan's epic send-off. On "Maybe Someday" , it's almost as if Dylan was reaching for "Idiot Wind" but couldn't find the pulse...thus, instead of apocalyptic bitterness, he gives his woman a parting clank of the beer glass, rife with several overlooked lyrical gems, the best being: "Always was a sucker for the right cross; never wanted to go home ’til the last cent was lost."
Esteban Paez's cover invites a smile. It sounds - in Spanish - exactly as the words were originally intended...which is a testament to the spiritual depth of the romance languages. Above all, with the volume cranked, Paez's cover of "Maybe Someday" hits you like a memory not yet had. One that's coming on down the road, "Maybe Someday."
Janasie's Take:
I have never listened to the Knocked Out Loaded album, which is unusual for me when it comes to Dylan. I know a few of the songs off of it, "Maybe Someday" included, either through other releases or live shows. The album contains one of my favorite "bad" songs ever - "Brownsville Girl". Eleven minutes of rambling melodrama that I just can't get enough of. "Maybe Someday" is a bit of a rambler itself, though it fits a little more easily into the traditional, pop song format. Dylan has a lot of tunes like this one in his repertoire, where he finds a fairly simple song structure and works off the cuff for awhile, kinda prattling on, kinda not, usually about scorned love. Not what I consider "high" Dylan, but enjoyable nonetheless.
I like this cover. The phrasing is very Dylan-like, so much so that you don't necessarily pick up on the language switch at first. The guitar work is pretty tasty as well. I'd put my stamp of approval on it, allowing that I don't have a great connection to the original to begin with. Fun stuff.
Monday, April 2, 2012
Dylan Cover #42 Flogging Molly "The Times They Are A-Changin"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Flogging Molly's doing "The Times They Are A Changing"
Thoughts on Dylan Original:
Well it is his most famous song for a reason, it is one of the greatest ever produced in any genre, ever.
Cover:
Thoughts on Cover Artist:
Flogging Molly does up the Celtic Folk/Rock with joy, but have always been a bit down on my personal list of Irish/American band favorites, usually duking it out with Dropkick Murphys for 3rd or 4th place on the list of things. The band has a great lyrical touch and blends genre's like Punk/Folk/Rock and have usually added a political tinge to things, equipping their live show with a rally vibe. Let's See how they do on the cover of a classic...
Thoughts on Cover:
Perhaps the toughest Dylan song to cover as "Times" is his most iconic and really a perfect number in it's original form. There have also been tons of covers of this song so to stand out would be really something. Stand out, Stand Up, Jump Up, Flogging Molly's has done up a winning version of this tune and deserve praise. The tempo changes are exciting after starting the first verse in a traditional sense to kick up the drum beat at the "Come writers and critics" line adding violins and energy to the mix. A really cool take on a tune that has been covered to death. Great job.
Grade: A
Wilson's Take:
Irony is the curse of the Irish.
Flogging Molly's "The Times They Are a Changing" is no exception. For given their pounding-Irish-ruckus-of-a-sound the "Times" most certainly are not changing. With this cover, the listener may as well be stumbling through early 20th century Dublin with Joyce.
Flogging Molly achieved a modest amount of airtime with "If I Ever Leave This World Alive" - a tune that doesn't get nearly enough credit for the piece of beauty it is. In comparison, every other modern love song sounds cheap...pretentious. Who but the Irish could yoddle: "In a word, don't shed a tear...I'll be here when it all gets weird" and leave you misty-eyed and grateful for departures? You get the sense that the singer's got one arm thrown around his beloved's shoulder, while the other is sloshing around a pint...ahh the Irish! God's very own doomed philosophers.
This cover's worth a listen. Where Dylan's original "Times They Are a Changing" now seems like a period piece, Flogging Molly's version reminds us - fittingly - that nothing of the human soul ever changes.
Thoughts on Dylan Original:
Well it is his most famous song for a reason, it is one of the greatest ever produced in any genre, ever.
Cover:
Thoughts on Cover Artist:
Flogging Molly does up the Celtic Folk/Rock with joy, but have always been a bit down on my personal list of Irish/American band favorites, usually duking it out with Dropkick Murphys for 3rd or 4th place on the list of things. The band has a great lyrical touch and blends genre's like Punk/Folk/Rock and have usually added a political tinge to things, equipping their live show with a rally vibe. Let's See how they do on the cover of a classic...
Thoughts on Cover:
Perhaps the toughest Dylan song to cover as "Times" is his most iconic and really a perfect number in it's original form. There have also been tons of covers of this song so to stand out would be really something. Stand out, Stand Up, Jump Up, Flogging Molly's has done up a winning version of this tune and deserve praise. The tempo changes are exciting after starting the first verse in a traditional sense to kick up the drum beat at the "Come writers and critics" line adding violins and energy to the mix. A really cool take on a tune that has been covered to death. Great job.
Grade: A
Wilson's Take:
Irony is the curse of the Irish.
Flogging Molly's "The Times They Are a Changing" is no exception. For given their pounding-Irish-ruckus-of-a-sound the "Times" most certainly are not changing. With this cover, the listener may as well be stumbling through early 20th century Dublin with Joyce.
Flogging Molly achieved a modest amount of airtime with "If I Ever Leave This World Alive" - a tune that doesn't get nearly enough credit for the piece of beauty it is. In comparison, every other modern love song sounds cheap...pretentious. Who but the Irish could yoddle: "In a word, don't shed a tear...I'll be here when it all gets weird" and leave you misty-eyed and grateful for departures? You get the sense that the singer's got one arm thrown around his beloved's shoulder, while the other is sloshing around a pint...ahh the Irish! God's very own doomed philosophers.
This cover's worth a listen. Where Dylan's original "Times They Are a Changing" now seems like a period piece, Flogging Molly's version reminds us - fittingly - that nothing of the human soul ever changes.
Monday, March 26, 2012
Dylan Cover #41 Yo La Tengo "4th Time Around"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Yo La Tengo doing "Fourth Time Around"
Thoughts On Dylan Original:
This is a weird one, as I heard this track after I had already fallen in love with The Beatles "Norwegian Wood (This Bird Has Flown)" and didn't know what Dylan was getting at with this track. After checking out Wikipedia, I guess I am not alone as John Lennon was all over the map with his reactions to it. The music is the same and the lyrics are a mix of lazy and nonsense, reading into anything Dylan says too heavily can cause one to go mad, but why he chose to do this song so close to when the Beatles had their first lyrical success is a mystery. social commentary, goof, stoned malaise? Either way, the song was never one of my favorites and not up to anywhere near the version he was praising or mocking, take your pick.
Cover:
Thoughts on Cover Artist:
Yo La Tengo are like the grown up Sonic Youth. Granted they are probably all younger then members of the Youth, but the thought is there...they are the relaxed version; never getting to high or low, but always putting out interesting/weird music. The band has such a great back catalog of tunes that it is fun to sink back into and listen to their sounds from the mid 90's, and are still going strong with their most recent release 2009's Popular Songs which just may be their best. A fantastic group that is doing what they love and are still worth catching live or on disk whenever they have a statement to make. Oh and they just may have the coolest name origin in rock (from Wikipedia):
Thoughts on Cover:
Delicate with organs acoustic guitars soft brushed snares and a heavy bass line make a sweet musical foundation for this tune to float along on. There are amazing layers of sound throughout that allows the musicians to vamp on all different sorts of keys, scales and wanderings adding a fresh sound to things. The major downside seems to be the lyrics themselves and the song structure. The really cool organ/keys lead outro is fantastic and perhaps a more "jammy vibe" could help elevate things, but I got a feeling those tossed off words would still weigh things down. The song just isn't that substantial overall but as far as covers compared to the original go:
Grade: B
Wilson's Take:
Janasies Take:
Thoughts On Dylan Original:
This is a weird one, as I heard this track after I had already fallen in love with The Beatles "Norwegian Wood (This Bird Has Flown)" and didn't know what Dylan was getting at with this track. After checking out Wikipedia, I guess I am not alone as John Lennon was all over the map with his reactions to it. The music is the same and the lyrics are a mix of lazy and nonsense, reading into anything Dylan says too heavily can cause one to go mad, but why he chose to do this song so close to when the Beatles had their first lyrical success is a mystery. social commentary, goof, stoned malaise? Either way, the song was never one of my favorites and not up to anywhere near the version he was praising or mocking, take your pick.
Cover:
Thoughts on Cover Artist:
Yo La Tengo are like the grown up Sonic Youth. Granted they are probably all younger then members of the Youth, but the thought is there...they are the relaxed version; never getting to high or low, but always putting out interesting/weird music. The band has such a great back catalog of tunes that it is fun to sink back into and listen to their sounds from the mid 90's, and are still going strong with their most recent release 2009's Popular Songs which just may be their best. A fantastic group that is doing what they love and are still worth catching live or on disk whenever they have a statement to make. Oh and they just may have the coolest name origin in rock (from Wikipedia):
During the 1962 season, New York Mets center fielder Richie Ashburn and Venezuelan shortstop Elio Chacón
found themselves colliding in the outfield. When Ashburn went for a
catch, he would scream, "I got it! I got it!" only to run into Chacón,
who spoke only Spanish. Ashburn learned to yell, "¡Yo la tengo! ¡Yo la
tengo!" instead. In a later game, Ashburn happily saw Chacón backing
off. He relaxed, positioned himself to catch the ball, and was instead
run over by left fielder Frank Thomas,
who understood no Spanish and had missed a team meeting that proposed
using the words "¡Yo la tengo!" as a way to avoid outfield collisions.[2] After getting up, Thomas asked Ashburn, "What the heck is a Yellow Tango?".[3]
Thoughts on Cover:
Delicate with organs acoustic guitars soft brushed snares and a heavy bass line make a sweet musical foundation for this tune to float along on. There are amazing layers of sound throughout that allows the musicians to vamp on all different sorts of keys, scales and wanderings adding a fresh sound to things. The major downside seems to be the lyrics themselves and the song structure. The really cool organ/keys lead outro is fantastic and perhaps a more "jammy vibe" could help elevate things, but I got a feeling those tossed off words would still weigh things down. The song just isn't that substantial overall but as far as covers compared to the original go:
Grade: B
Wilson's Take:
Janasies Take:
Monday, March 12, 2012
Dylan Cover #40 Fistful of Mercy "Buckets of Rain" Live
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Fistful of Mercy doing "Buckets of Rain"
Thoughts on Dylan Original:
From our first cover version of this tune: Dylan's mid career masterpiece closes out with this song and to me it always seemed tacked on whimsically. After going through a ton of raw emotion with "Idiot Wind" and other tunes, Blood on the Tracks finishes with this ditty. Honestly never one of my favorites, it acted more as a palate cleanser and a sweet one at that.
Cover:
Thoughts on Cover Artist:
I wasn't too keen on this group when they got started, and haven't gone back to them for any particular reason since then. Perhaps it was the timing having their release so close to the excellent Monsters of Folk collaboration, but Harper, Arthur and Harrison while all supremely talented haven't resonated much if at all with me.
Thoughts on Cover:
A crisp upbeat straight ahead rendition with beautiful harmonies and a great violin sound. This is a lighthearted tune and the group kept it that way and by amping up the pace a bit made things tidy and speedy. Crisp and clean like a good lager on a summer day, well done:
Grade: B
Wilson's Take:
Janasie's Take:
Thoughts on Dylan Original:
From our first cover version of this tune: Dylan's mid career masterpiece closes out with this song and to me it always seemed tacked on whimsically. After going through a ton of raw emotion with "Idiot Wind" and other tunes, Blood on the Tracks finishes with this ditty. Honestly never one of my favorites, it acted more as a palate cleanser and a sweet one at that.
Cover:
Thoughts on Cover Artist:
I wasn't too keen on this group when they got started, and haven't gone back to them for any particular reason since then. Perhaps it was the timing having their release so close to the excellent Monsters of Folk collaboration, but Harper, Arthur and Harrison while all supremely talented haven't resonated much if at all with me.
Thoughts on Cover:
A crisp upbeat straight ahead rendition with beautiful harmonies and a great violin sound. This is a lighthearted tune and the group kept it that way and by amping up the pace a bit made things tidy and speedy. Crisp and clean like a good lager on a summer day, well done:
Grade: B
Wilson's Take:
Janasie's Take:
Monday, March 5, 2012
Dylan Cover #39 Henry Lim "Red River Shore"
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Henry Lim and The Camarade Quartet doing "Red River Shore"
Thoughts on Dylan Original:
Recorded for Time Out of Mind, only Dylan himself knows why it didn't make the final cut for the album. It was officially released on Tell Tale Signs and is a disk highlight. Lazy and wandering it has a good feel to it. The legendary Jim Dickinson said when it was recorded that it was "the best song there was from the session." Coming from a man like him and an album like that, it speaks volumes.
Cover:
Thoughts on Cover Artist:
I had not heard of Henry Lim before stumbling upon this excellent cover, but after doing a quick search and finding his homepage I may have to start paying a bit of attention to him. A music library staff member who is playing a full string version Bossanova from The Pixies live this April?! Yup, that is someone I could get down with, to bad I can't make the show out in LA, but I will definitely be checking youtube for clips.
Thoughts on Cover:
Well thought out and constructed this version is a joy. Nothing mind blowing in the arrangements, all though the plucking cello is a really nice touch that pops up. The singing of Lim is rich and string vibrations are true. An excellent way to hear this tune.
Grade B
Wilsons Take:
Janasie's Take:
Tell Tale Signs was a real treat, covering material that spans the length of the last great period in Dylan's career (until the next one). "Red River Shore" was absolutely one of the highlights. I had never heard this version before, but I really enjoyed it. Maybe as much as the original, which is saying a lot. Henry Lim has captured the spirit of the song and I loved the string arrangement. Wish I had been in that room, seems like a cozy little spot.
Thoughts on Dylan Original:
Recorded for Time Out of Mind, only Dylan himself knows why it didn't make the final cut for the album. It was officially released on Tell Tale Signs and is a disk highlight. Lazy and wandering it has a good feel to it. The legendary Jim Dickinson said when it was recorded that it was "the best song there was from the session." Coming from a man like him and an album like that, it speaks volumes.
Cover:
Thoughts on Cover Artist:
I had not heard of Henry Lim before stumbling upon this excellent cover, but after doing a quick search and finding his homepage I may have to start paying a bit of attention to him. A music library staff member who is playing a full string version Bossanova from The Pixies live this April?! Yup, that is someone I could get down with, to bad I can't make the show out in LA, but I will definitely be checking youtube for clips.
Thoughts on Cover:
Well thought out and constructed this version is a joy. Nothing mind blowing in the arrangements, all though the plucking cello is a really nice touch that pops up. The singing of Lim is rich and string vibrations are true. An excellent way to hear this tune.
Grade B
Wilsons Take:
Janasie's Take:
Tell Tale Signs was a real treat, covering material that spans the length of the last great period in Dylan's career (until the next one). "Red River Shore" was absolutely one of the highlights. I had never heard this version before, but I really enjoyed it. Maybe as much as the original, which is saying a lot. Henry Lim has captured the spirit of the song and I loved the string arrangement. Wish I had been in that room, seems like a cozy little spot.
Monday, February 27, 2012
Dylan Cover #38 Rise Against "The Ballad of Hollis Brown"
In this ongoing Monday
Series we will be exploring various artists versions of Bob Dylan
song's. Today's tune is a cover by Rise Against doing "The Ballad of Hollis Brown"
Thoughts on Dylan Original:
One of the most bleak and powerful songs of Dylan's strongest period, "The Ballad of Hollis Brown" is like the mentioned shotgun blast and story told to the listener; fierce. Instantly a kinship is felt with the central character and as the situation becomes more direr, horror and finally (somehow) hope creeps in. The last lines are some of Dylan's best as the murder happens and yet optimism or at least irony flows through via "There's Seven New People Born"...The wheel keeps on a'spinnin'.
Cover:
Thoughts of Cover Artist:
Unfortunately I am not too familiar with Rise Against, but having grown up on punk rock I appreciate the genre. I do not think however these guys would have gotten much of a listen from my younger self as the tracks I have heard fall closer MTV friendly groups like Fall Out Boy, but as I admitted earlier I am not that knowledgeable regarding them.
Thoughts on Cover:
This is the first cover we are tackling from the Amnesty International Album, which you should all pick up right here. We will be covering lots of tracks from it so stay tuned. As for this one, I am a complete sucker for a good punk cover of Dylan's songs as I think the angst fits them perfectly. However this one doesn't live up to that promise, and "Hollis Brown" is perfect for this kind of interpretation. It takes until a minute and a half for the energy to pick up and when it does there is a consistent thundering as the band goes more for moody atmosphere then straight ahead power. Then ebb's and flows don't really do it for me, tricks aren't needed for this strong of a song, the breakdown at the end is nice, but what leads up to it less so. I think they could have done this one a bit better with less thinking and more rocking.
Grade C-
Wilson's Take:
Janasie's Take:
Thoughts on Dylan Original:
One of the most bleak and powerful songs of Dylan's strongest period, "The Ballad of Hollis Brown" is like the mentioned shotgun blast and story told to the listener; fierce. Instantly a kinship is felt with the central character and as the situation becomes more direr, horror and finally (somehow) hope creeps in. The last lines are some of Dylan's best as the murder happens and yet optimism or at least irony flows through via "There's Seven New People Born"...The wheel keeps on a'spinnin'.
Cover:
Thoughts of Cover Artist:
Unfortunately I am not too familiar with Rise Against, but having grown up on punk rock I appreciate the genre. I do not think however these guys would have gotten much of a listen from my younger self as the tracks I have heard fall closer MTV friendly groups like Fall Out Boy, but as I admitted earlier I am not that knowledgeable regarding them.
Thoughts on Cover:
This is the first cover we are tackling from the Amnesty International Album, which you should all pick up right here. We will be covering lots of tracks from it so stay tuned. As for this one, I am a complete sucker for a good punk cover of Dylan's songs as I think the angst fits them perfectly. However this one doesn't live up to that promise, and "Hollis Brown" is perfect for this kind of interpretation. It takes until a minute and a half for the energy to pick up and when it does there is a consistent thundering as the band goes more for moody atmosphere then straight ahead power. Then ebb's and flows don't really do it for me, tricks aren't needed for this strong of a song, the breakdown at the end is nice, but what leads up to it less so. I think they could have done this one a bit better with less thinking and more rocking.
Grade C-
Wilson's Take:
Janasie's Take:
In the blues tradition, a lot of time is spent on drunkeness, sex, and despair. But there are times when the realities in life and the influences of forces like these combine and the bluesman is then compelled to tell a tale that is simple, pure horror. It is represented in the field recordings of forefathers like Robert Johnson and it is the kind of material that makes you think, "What hell brought this about?" Maybe this is why the blues was/is thought of as the devil's music - at times, it does come like a celebration of evil's handywork.
"Ballad of Hollis Brown" is a tale of terror rooted in that blues tradition. It surpasses the stories of men with hooks for hands or knives for fingers because events like this South Dakota tragedy actually happen in our world. Not with frequency, but with frightening regularity. The "Ballad of Hollis Brown" could easily be the "Ballad of Josh Powell.' And we could rename it every year. It captures the moment when we all are forced to question our own sanity, what we could be driven to, as well as the sanity of the collective as a whole.
The Times They Are A-Changin' is stuffed with brilliant musical statements and so "Ballad of Hollis Brown" is often viewed by the listener as but one piece of dark glass in an exquisite mosaic. However, when we take the time to really look at it, separated from the larger work, when we examine the thought that went into its creation as an individual piece of art, we can really see the artist's genius in full. A simple, brutal, stunning song.
On this cover, Rise Against gives the piece its proper weight. Kudos to this band, it is a version I have enjoyed since first I heard it and will continue to enjoy for years to come. And it was the impetus for a closer examination of the original work. Thanks, fellas.
Monday, February 20, 2012
Dylan Cover #37 Norah Jones "I'll Be Your Baby Tonight"
In this ongoing Monday
Series we will be exploring various artists versions of Bob Dylan
song's. Today's tune is a cover by Norah Jones of "I'll Be Your Baby Tonight"
Thoughts on Dylan Original:
A simple little number coming off of John Wesley Harding it discards the lyrical wizardry for a down home spin. We are rewarded with easy bliss, not often found in Dylan tunes. The emotions displayed by the singer here are heartfelt, hearty and easy going, just like the tune as a whole. Always a pleasant ride, bring that bottle over here...
Cover:
Thoughts on Cover Artist:
Back in 2002 when Come Away With Me was sweeping through peoples brains and picking up Grammy's along the way, I heard Norah Jones described as "Sunday Morning Music". I took that to mean not church music (big difference), not Football music (even bigger) but "relaxing, reading the paper while the sun is shining in the kitchen with some tunes on in the background music". Yeah, that about sums it up.
Thoughts on Cover:
For a vocal Jazz singer, Norah's biggest key may be showing restraint. This tune doesn't need much and she doesn't force anything. Repeating the chorus at the end isn't overload by any stretch and lets the song breath a bit. The sparse, piano and guitar lines float in and out effortlessly and are nice touches, all in all a solid song because not too much was asked from this performance, not too much given, and the result is pleasing.
Grade: B
Wilsons Take:
Janasie's Take:
Thoughts on Dylan Original:
A simple little number coming off of John Wesley Harding it discards the lyrical wizardry for a down home spin. We are rewarded with easy bliss, not often found in Dylan tunes. The emotions displayed by the singer here are heartfelt, hearty and easy going, just like the tune as a whole. Always a pleasant ride, bring that bottle over here...
Cover:
Thoughts on Cover Artist:
Back in 2002 when Come Away With Me was sweeping through peoples brains and picking up Grammy's along the way, I heard Norah Jones described as "Sunday Morning Music". I took that to mean not church music (big difference), not Football music (even bigger) but "relaxing, reading the paper while the sun is shining in the kitchen with some tunes on in the background music". Yeah, that about sums it up.
Thoughts on Cover:
For a vocal Jazz singer, Norah's biggest key may be showing restraint. This tune doesn't need much and she doesn't force anything. Repeating the chorus at the end isn't overload by any stretch and lets the song breath a bit. The sparse, piano and guitar lines float in and out effortlessly and are nice touches, all in all a solid song because not too much was asked from this performance, not too much given, and the result is pleasing.
Grade: B
Wilsons Take:
If Norah Jones didn't look like Norah Jones; and if she weren't younger than the Dylan song she's covering, it's tough to imagine her inhabiting the mega-career she now enjoys. She's a beneficiary of the Michael Buble-effect: where the young sing the old...and the old wax nostalgic about how "timeless all the best things in life are." Her soothing, melodic numbers seem tailored-made for a Nora Ephron film, probably staring Diane Keaton, and probably involving a late-life romance set to fine wine, country homes, a raffish younger man, and a supporting cast of boring-straight-laced adult children. Those increasingly-ubiquitous films in which, even in retirement, Boomers must hold center stage as the most interesting people alive...hence why all their films have their children written as vanilla, stogy lemmings. Fifty years ago it was their parents who didn't "get" it; now it's their kids. So what does any of this have to do with Norah Jones? The daughter of Ravi Shankar, this soothing and promising singer, rode that demographic to sell 20 million copies of her debut album Come Away With Me. Bravo, Ms. Jones, Bravo.
20 million copies.
In the 21st century, at the height of P2P file sharing, those are bonkers numbers. And you don't outsell Hootie and the Blowfish's Cracked Rear View without becoming the white noise that Boomers play at dinner parties. Tackling Bob Dylan would seem a natural fit, and when her cover of "I'll Be Your Baby Tonight" began it offered a glimpse of original hope...it begins with a low, smokey rhythm, which "I'll Be Your Baby Tonight" has always needed. But with an uninspired arrangement it quickly becomes the plane rolling down the runway that never gets off the ground. Still, because it's Norah Jones, it's agreeable. Oh so agreeable. Perfect...White...Noise. The thing is, I keep waiting for Norah Jones - this immensely talented vocalist - to sing like she needs to. Like she isn't the unbearably-cute daughter of a famous icon; like she didn't sell 20 million albums her first time out. I keep wanting her to sing as if we're listening.
"I'll Be Your Baby Tonight" is one of my favorite tracks on John Wesley Harding. I always liked the laid back feel of the tune. Dylan sounds like a bit of a drunken lounge singer on it and Dylan makes a good, drunken lounge singer.
I am a casual fan of Norah Jones. I'm not a big fan of this cover, though. It seems a little, I don't know, dull. The cover is lacking some of the whimsy present in the Dylan version. That shufflin' rhythm that is the foundation of the original was lost somewhere in translation, too.
Monday, February 13, 2012
Dylan Cover #36 Jason and the Scorchers "Absolutely Sweet Marie"
In this ongoing Monday
Series we will be exploring various artists versions of Bob Dylan
song's. Today's tune is a cover by Jason and the Scorchers of "Absolutely Sweet Marie"
(RtBE Note sorry for the break in Dylan covers for January, don't fear the series will continue in 2012, also RtBE has purchased this, we think you should too, expect to see many of these appear here over the next year and beyond.)
Thoughts on Dylan Original:
Color me shocked that we are 36 covers into this series and just now we are getting to someone covering "Absolutely Sweet Marie". The original was one of the most complete songs Dylan has written even if you are never quite sure what he is addressing. He likes the song but surprisingly never played it live until 1988, I find that kinda odd. He dove into this songs' lyrics specifically during a 1991 interview published in Paul Zollo's book Songwriters on Songwriting, Dylan gives an idea of how he sees the song in his explanation of a line about a "yellow railroad":
Cover:
Thoughts on Cover Artist:
I had never heard of Jason and the Scorchers before, but after some research it seems they have a pretty solid what they call a "cowpunk" career for a very long time now, since 1981 in fact. They have had on again off again reunions and moments in the sun, but they have gained a cult following and that is what counts and they are still at releasing their newest album Halycon Times in 2010.
Thoughts on Cover:
A great song to get back into this series. Honestly when you jam a Dylan song up faster my ears will perk up as the idea of Dylan's somewhat harsh lyrics and punk rock is a perfect fit for me, but "Absolutely Sweet Marie" was never a track of his I thought of for that treatment. Granted this isn't out and out punk rock, but the energy and spirit the band infuses into this cover is tight and charming, like the original itself, but completely separated from it. This is cover that will get multiple listens and one that you should certainly check out.
Grade: A-
Wilson's Take:
Janasie's Take:
Ladies and gentlemen, SIU's own Jason Ringenberg! Blonde on Blone is at the very tip top in the Dylan catalogue hierarchy, but it is probably safe to say that "Absolutely Sweet Marie" is not the primary source of that acclaim. It is, however, a fun and interesting song representative of Dylan at his peak. Jason & the Scorchers really grabbed hold of the fun in it and (for 3:38, anyway) made it their own. I don't think I'll run out and buy any cowpunk records, but then again, I don't have to. Chances are good that Jason and the boys will be back at Hangar 9 any day now.
(RtBE Note sorry for the break in Dylan covers for January, don't fear the series will continue in 2012, also RtBE has purchased this, we think you should too, expect to see many of these appear here over the next year and beyond.)
Thoughts on Dylan Original:
Color me shocked that we are 36 covers into this series and just now we are getting to someone covering "Absolutely Sweet Marie". The original was one of the most complete songs Dylan has written even if you are never quite sure what he is addressing. He likes the song but surprisingly never played it live until 1988, I find that kinda odd. He dove into this songs' lyrics specifically during a 1991 interview published in Paul Zollo's book Songwriters on Songwriting, Dylan gives an idea of how he sees the song in his explanation of a line about a "yellow railroad":
That's about as complete as you can be. Every single letter in that line. It's all true. On a literal and on an escapist level.... Getting back to the yellow railroad, that could be from looking someplace. Being a performer, you travel the world. You're not just looking out of the same window everyday. You're not just walking down the same old street. So you must make yourself observe whatever. But most of the time it hits you. You don't have to observe. It hits you. Like, "yellow railroad" could have been a blinding day when the sun was so bright on a railroad someplace and it stayed on my mind.... These aren't contrived images. These are images which are just in there and have got to come out.Tight taught and still somehow allusive, pretty cool and totally Dylan at his finest.
Cover:
Thoughts on Cover Artist:
I had never heard of Jason and the Scorchers before, but after some research it seems they have a pretty solid what they call a "cowpunk" career for a very long time now, since 1981 in fact. They have had on again off again reunions and moments in the sun, but they have gained a cult following and that is what counts and they are still at releasing their newest album Halycon Times in 2010.
Thoughts on Cover:
A great song to get back into this series. Honestly when you jam a Dylan song up faster my ears will perk up as the idea of Dylan's somewhat harsh lyrics and punk rock is a perfect fit for me, but "Absolutely Sweet Marie" was never a track of his I thought of for that treatment. Granted this isn't out and out punk rock, but the energy and spirit the band infuses into this cover is tight and charming, like the original itself, but completely separated from it. This is cover that will get multiple listens and one that you should certainly check out.
Grade: A-
Wilson's Take:
Janasie's Take:
Ladies and gentlemen, SIU's own Jason Ringenberg! Blonde on Blone is at the very tip top in the Dylan catalogue hierarchy, but it is probably safe to say that "Absolutely Sweet Marie" is not the primary source of that acclaim. It is, however, a fun and interesting song representative of Dylan at his peak. Jason & the Scorchers really grabbed hold of the fun in it and (for 3:38, anyway) made it their own. I don't think I'll run out and buy any cowpunk records, but then again, I don't have to. Chances are good that Jason and the boys will be back at Hangar 9 any day now.
Monday, December 19, 2011
Dylan Cover #35 The Ramones "My Back Pages"
In this ongoing Monday
Series we will be exploring various artists versions of Bob Dylan
song's. Today's tune is a cover by The Ramones,"My Back Pages"
The sense of exhaling desperation or at least the realization that age confuses things even more seems to be what I take from this tune, but lets see how those cretins from Queens play it?
Thoughts on Cover:
Punk covers and Dylan songs fit like a glove when done correctly, giving the speed and drive to the powerful lyrics and adding a dimension that the Bard himself would never do, so put on your leather jacket and rock out with The Ramones for a couple of minutes.
Thoughts on Dylan Original:
Odd that we have made it this far and haven't touched on any covers of this all-time classic gem of a Dylan song. The original has taken upon itself a cultural importance, and the chorus has simply become iconic. I doubt Dylan intended such, but it toes the line of out and out protest and illustrative questions. He puts down everyone from evangelists to girls, but the language snakes and flows so magically that it doesn't seem as harsh as "Positively 4th St" or "Ballad in Plain D".
The sense of exhaling desperation or at least the realization that age confuses things even more seems to be what I take from this tune, but lets see how those cretins from Queens play it?
Cover:
(not sure why there is an extra 2 minutes of silence on this track...The Ramones couldn't play a 4:34 song if you paid them double..)
Thoughts on Cover Artist:
An American institution, and obviously in the conversation of Best American Band of All-time as they defined what it meant to be a punk for multiple generations at this point... I can go on and on about them but like their tunes direct and to the point is best; they are punk rock royalty and RtBE favorites. Their no nonsense approach to music was just like their lifestyle of van touring and saving every penny. As they aged they wanted to capitalize on their success, so the album Acid Eaters was a late career highpoint on the back of multiple covers.
An American institution, and obviously in the conversation of Best American Band of All-time as they defined what it meant to be a punk for multiple generations at this point... I can go on and on about them but like their tunes direct and to the point is best; they are punk rock royalty and RtBE favorites. Their no nonsense approach to music was just like their lifestyle of van touring and saving every penny. As they aged they wanted to capitalize on their success, so the album Acid Eaters was a late career highpoint on the back of multiple covers.
Thoughts on Cover:
This cover was the best off of that album which CJ Ramone mentioned in an interview was only suppose to be an EP, but greed lead to a full length. There is certainly filler there, but the groups take on Dylan isn't one as CJ takes over the lead vocals and does a dynamite job. I am not sure why Joey doesn't sing lead but the song doesn't suffer at all. Of course the punks cut out verses, but it doesn't diminish the song in fact it adds power to the ones kept in, especially the closer. Also is that actually a solo from Johnny? Nah couldn't be...could it?!?
Punk covers and Dylan songs fit like a glove when done correctly, giving the speed and drive to the powerful lyrics and adding a dimension that the Bard himself would never do, so put on your leather jacket and rock out with The Ramones for a couple of minutes.
Grade: A+
Wilson's Take:
Janasie's Take:
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