Forty Five Minutes Of Cover Versions Part Four

One more cover version Sunday mix then I'll leave it alone for a while. I've been finding cover versions in all sorts of places since I started the first mix four weeks ago, songs springing to mind at random moments. Most of the ones I've chosen do something with the source material, take it somewhere else emotionally or stylistically. Some rip the original to shreds, some pay their respects but still tear it up. Some nod their head to their influences or pay something back. 

Forty Five Minutes Of Cover Versions Part Four

• Spectrum: True Love Will Find You In The End
• Spiritualized: Any Way That You Want Me
• The Kills: Pale Blue Eyes
• One Dove: Jolene
• Galaxie 500: Don't Let Our Youth Go To Waste
• John Cale: All My Friends
• Monkey Mafia: As Long As I Can See The Light
• Raz and Afla: Windowlicker

Sonic Boom formed Spectrum after Spacemen 3 split up and his cover of Daniel Johnson's True Love Will Find You In The End is a gorgeous, angelic take on the song. Released in 1992 as a single and later included in two versions on a Sonic Boom/ Spectrum compilation.

Two years earlier Jason Pierce/ J Spaceman flew the Spacemen 3 coop first, releasing the first Spiritualized single, a cover of The Troggs 1966 single. Jason doesn't radically alter it but he makes it a Spiritualized song all the same. 

The Kills cover of The Velvet Underground's Pale Blue Eyes is gloriously ragged and fuzzed up, the guitar stuttering and ripping a hole in the speaker while Alison gives deadpan vocals. It was a B-side to their 2012 The Last Goodbye single.

One Dove's dubbed out, trippy reggae cover of Dolly Parton is a blast, Dot's beautifully off key vocals perfect for the band's blissed out but slightly on edge comedown re-imagining of the song. It came out as one of the B-sides to the 1993 single release of Why Don't You Take Me.

Galaxie 500 recorded several fantastic covers- their take on New Order's Ceremony may be the best NO cover ever recorded. Their cover of Jonathan Richman's Don't Let Our Youth Go To Waste is superb, Jonathan's ninety second original stretched to to seven minutes, a thrilling Galaxie performance, the rumble of drums and bass matched by Dean's trebly, overdriven guitar. They only existed for four years, 1987 to 1991, but what a great band they were. 

John Cale covered LCD Soundsystem's All My Friends for LCD's own release of the single back in 2007- it came out as the B-side on 7" along with a sister 7" that had  Franz Ferdinand cover of the same song. Cale's version, piano, clipped krautrock guitars and his lived in, baritone voice give James Murphy's song a new dimension- when Cale sings, 'where are your friends tonight?', it conjures all sorts of imagery. 

Monkey Mafia's cover of Creedence Clearwater Revival's was a 1998 single, a late 90s revisiting of a 1970 song, a call out to the weary travelers and wanderers, a song about going home. Pre- millenial tension?

Raz and Afla's cover of Aphex Twin's Windowlicker came out this year, a fantastic synths and percussion Afro- electronic floor filler- well, I can imagine some floors that it might fill. 

Monday's Long Song

What a great band Galaxie 500 were. They split up in 1991 leaving three studio albums behind them (Today, On Fire and This Is Our Music) on the verge of a tour of Japan. Singer/ guitarist Dean Wareham calling it a day when the band had a tough time making what was their final album and in Dean's words 'clearly weren't getting along'. Later in the same year Rough Trade went bust and the other two, Damon Krukowski and Naomi Yang bought the rights to their own music at auction. The three former Galaxie 500ers have been really careful with what happened to those recordings ever since and last year released a archival album, Uncollected Noise New York '88- '90. 

One of the many highlights of their back catalogue is their cover of The Modern Lovers song Don't Let Our Youth Go To Waste, Jonathan Richman's sub- two minute sketch turned into a just shy of seven minute slowcore/ dreampop epic by Galaxie 500. It was on 1988's Today and later released as a B- side in 1990 and re- recorded for a Peel Session too. 

Don't Let Our Youth Go To Waste

The bass and drums become an exercise in hypnosis while Dean's guitars (two of them, one chugging away like Lou Reed, the other spindly and bright like Sterling Morrison) create some tension. Dean's brittle, upper register voice singing Jonathan's lovelorn, tragic lyrics at the very edge of breaking down.

Dean Wareham is about to release another solo album, the follow up to 2021's I Have Nothing To Say To The Mayor Of LA. A few songs have appeared ahead of it including this one- That's The Price Of Loving Me is a gorgeously understated song, sublime chord changes and padding bassline, Dean's voice in a lower register now than it was back in the late 80s. Kramer, the man who produced those Galaxie 500 albums, is back at the controls and it shows. 

 

Across the Kitchen Table

Three songs for Drew today who is in the midst of some tough times. His blog Across The Kitchen Table was around way back in the late 00s and was one of the reasons I started this. Since striking up an online friendship (beginning with posts about Weatherall records if I remember right) we've met in real life on several occasions in Glasgow and Manchester, even venturing out to watch lower tier Scottish football at Airdrie back in 2017. All the best Drew, take care of yourself and each other. 

First song is by The Fall, der gruppe he loves as much as any. I could pick almost any Fall song at random. On looking in my Fall folder I went for this one, prime late 80s Fall with Mark and Brix chanting something about Baghdad space cog analysts before the scabrous Mancabilly fires in on all cylinders and MES goes off about guest informants, cheap hotels and miserable Scottish hotels that resemble Genesis and Marillion album covers in 1973. I guess touring in the 80s really didn't agree with him. 

Guest Informant

Secondly round about this time of year when Drew's blog Across The Kitchen Table was active he would post this Jonathan Richman song, a slightly calmer and less unhinged way to start your Tuesday. 

That Summer Feeling

And finally, The Pale Fountains in 1985...

... From Across The Kitchen Table

The Mirror

                                                      The Mirror, 12th March 1932

Sleeping Woman By A Mirror, 1932

We had a few days staying with friends in South London and took in trip into central London on Tuesday which gave me the opportunity to see the Picasso 1932 exhibition at Tate Modern (for free too courtesy of friend's Mum's membership card. The Picasso show is amazing, gallery after gallery of paintings done in a year long creative burst (inspired by his love affair with a younger woman Marie-Theresa Walter). Along with the paintings are sculptures, drawings, sketchbooks and a few paintings from earlier on in his career, arranged to re-create the one man show he held in Paris in 1932. Some of the portraits, large canvasses, were completed in one single afternoon sitting. The speed and intensity of the work is jaw dropping as is his use of colour. The paintings become darker towards the end, a recurring rescue of a drowning woman dominating (in the autumn of 1932 Marie picked up an infection swimming in a sewage infected river). It's on until 7th September. It frazzled my head a bit to see so many of these pictures together and close up. Well worth a trip out. 

There are quite a few songs that mention or are about Picasso. Jonathan Richman and The Modern Lovers are at the top of the pile.

Pablo Picasso

Coming out of South London our SatNav decided to take us north up to the Thames, though Crystal Palace, Norwood, Tulse Hill, skirting the edge of Brixton, and then crossing the river at Hammersmith Bridge. I don't think it was the fastest way out of the city. Maybe it knew the M25 was at a standstill. Or maybe it knew that having crossed Hammersmith Bridge we'd turn left and see Cheyne Walk and Edith Grove, home to the 60s Stones, the World's End Estate (home to Joe Strummer and where he wrote London Calling, by the river) and then turn up Gunter Grove (the infamous home of John Lydon and the base of Metal Box-era PiL). All seen through the window of the car while negotiating London traffic. I think London Lee of Crying All The Way To The Chip Shop fame knew this part of London well. Anyway, thank you SatNav for showing it all to me. 

Don't Go To Waste

This may be none of my business as a Briton but...

If you put me on the spot I'm not sure I can list the achievements of the Obama Presidency but he is important if nothing else as a representative of a type of change many people never thought they'd see in the White House. On top of that, America, you really don't want Mitt Romney as your leader for the next four years. Do you?

Galaxie 500 covering Jonathan Richman and The Modern Lovers.

Don't Let Our Youth Go To Waste

Some People Try To Pick Up Girls

... and get called asshole, this never happened to Pablo Picasso. So said Jonathan Richman way back in 1972. Brilliant track, with a lovely riff and one great line turned into a whole song.

Pablo Picasso

Camden Cowboys

Last week I posted Jonathan Richman's Roadrunner. Here is a tribute to the man from Camden cowboys The Rockingbirds. Signed to Heavenly Records The Rockingbirds released several fondly remembered singles (A Good Day For You Is A Good Day For Me, Gradually Learning, this one Jonathan Jonathan) and a couple of albums in the early 90s before splitting in 1995. Their second album was produced by Edwyn Collins and one of the guitarists has been part of Edwyn's recent touring band. The Rockingbirds missed the U.S. alt-country boat of the mid-to-late 90s by some distance. Too country-ish and not glum enough probably. They reformed last year following the inevitable two disc re-issue of their first album.

Jonathan_Jonathan.mp3

1, 2, 3, 4, 5, 6 !

I saw a man yesterday wearing a t-shirt with the slogan '1976 1988 Punk, Hip Hop, Acid House', which seemed like a pretty fair summary of what's been important culturally over the last 34 years. There are and have been writers and commentators more skillful than me to tie these three things together. But there are other parts of my record collection that fall outside these dates that are also important, and Jonathan Richman's Roadrunner is one of them.

Jonathan Richman first recorded it in 1972, as a Velvet Underground obsessed young man who had moved to New York to meet the Velvets and lived on a sofa belonging to one of them for a bit. His Modern Lovers also recorded it, produced by John Cale. Way ahead of their time, the first Modern Lovers lp is one of those punk-before-punk records. Roadrunner was issued as a 7" single in 1977 at the height of British punk, with Roadrunner (Once) on the a-side and Roadrunner (Twice) on the b, and another live version, Roadrunner (Thrice), was on the flip of a later Jonathan Richman single. All three are ace and I can happily play them back to back, although my copy of Thrice is the crackliest piece of vinyl I own. In Lipstick Traces Greil Marcus waxes lyrical about Roadrunner, spending pages just deconstructing the 1, 2, 3, 4, 5, 6 introduction. More recently The Guardian's Laura Barton took a road trip around Boston, Massachusetts visiting and passing all the sights mentioned in the song.

Roadrunner is about Richman's hometown, the romance of the road, the sights and sounds inside and outside the car, the joy of late night radio, and the thrill of a song with only two chords (although he sneaks a third one in briefly towards the end). It's massively influential, absurdly good, and doesn't sound like it came from a time before that chap's t-shirt.

'Roadrunner, roadrunner
Going faster miles an hour
Gonna drive past the Stop 'n' Shop
With the radio on'

01 Roadrunner.wma