Be LlŎrious

You’ll forgive me, I hope, that you’re not reading the latest edition of The Chain this morning, but I have some other stuff which I need to mark this weekend.

Today would have been my bestest mate and honorary little brother LlŎr’s birthday, and as regular readers will know, I like to share a tune and an anecdote which reminds me of him when this, and the anniversary of his passing comes around.

But first one of those “Please don’t be offended/complain” warnings that you often hear on old 60s and 70s television programs being reshown in all their uncut glory. But where they may warn of images, attitudes and language no longer considered acceptable, I’m simply going to say: watch out, this one contains a sentence uttered by someone from Neath.

A few years ago (by which I mean probably twenty, let’s say mid-2000s – I refuse to refer to them as the Naughties, although doubtless someone will now point out somewhere on these pages that I’ve done exactly that), our friend Mark decided to celebrate what was probably a significant birthday by hiring out a bar in Cardiff, getting some friends to DJ, and having a bit of a do.

Mark and LlŎr had done a couple of gigs DJ’ing together (I say a couple, I can only really recall one, but I’m sure there were more), and so, since Mark planned to get blotto on his birthday and didn’t want the responsibility of entertaining too, of course he asked LlŎr if he minded playing for a while. And of course, LlŎr accepted.

LlŎr was an exceptionally talented DJ, and didn’t get the opportunity to show what he could do as often as perhaps he should have. He had twin turntables set up in his bedroom, and I would often hear him practicing a particular mix between two tunes until he got it right; if not that, then he was goofing around with flavour-of-the-month mash-ups: Missy Elliot’s Get Ur Freak On over the Ghostbusters theme tune was one he often enjoyed showing off doing.

Anyway, as Llyr’s set progressed that night, he dropped today’s tune (but not this mix, which I don’t think existed at the time), Mark (he told me later, and I reported back to Llyr, who also found it funny) found himself chatting to one of his less-reconstructed buddies from Neath.

“Who’s this DJ’ing now?” Neathanderthal bloke enquired

“Mate of mine, Llyr,” replied Mark.

A pause, then the chorus kicked in, which prompted the following question:

“Poof, is he?”

Sylvester – You Make Me Feel (Mighty Real) (Soulwax For Despacio Remix)

In case you’re interested, I picked that up after falling into a wormhole one day and finding myself watching this magnificent Soulwax gig on YouTube:

(And you’ll find some other tunes I pinched from that set cropping up in forthcoming editions of Friday Night Music Club.)

Happy Birthday, dude.

More soon.

How to Do a Cover Version (Part One)

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Ok, time to turn this blog into something slightly different from my mission statement. I’ll still keep going with the embarrassing memoirs (I’m sure both of you regular readers are gripped), but in the meantime, I think I need to add a new element or two. This is purely to keep me interested, you understand.

So, I have this theory. About cover versions. Actually I have several theories about cover versions, and here they come:

1) There’s no point in doing a cover version unless you add something to it

2) A good cover version makes you seek out the original

3) The version you hear, know and become familiar with first is the one you love, no matter how good the original is.

(Does three count as several?)

Let me give you an example of the latter. In 1986, The Communards, a band comprised mostly of ex-Bronski Beat’s Jimi Somerville and now fully fledged man of the cloth Richard Coles, released a cover version which was, to use Top of the Pops vernacular, an absolute smasher.

The Communards take on Don’t Leave Me This Way, whichever way you look at it, is a total belter, and it’s a shame that they never really escaped the public perception of them being a covers band. They probably didn’t help themselves, mind, as their next big hit was another cover version, this: Goodbye, and so the die was cast. Bronski Beat, as I’m sure you know, delivered a few great singles (one of which was a cover), before Jimi jumped ship leaving the other two flailing on the shores of Past-Their-Sell-by-Date-Bands-Whose-Talent-Has-Moved-On Island (see also Haircut 100), pleading us to Hit That Perfect Beat (a song so bad, even I don’t own a copy of it).

Jimi has one of the most unique voices in pop music, and it’s a shame that he seemed determined to posit himself as nothing more than a high-pitched walking karaoke bar. Even when he went solo he covered this and this. Leave them alone, Jimi! (A very close friend of mine DJ’d at a private party once, dropped the original of the latter as his first tune, only to be greeted with the phrase “Poof, are you?” by a pot-bellied beer chugger).

But I digress. I know there are older and better versions of Don’t Leave Me This Way out there, and I’ll leave you to seek them out for yourself, but it’s The Communards version that always gets me. Memories, see? I was at sixth form when it came out, an important period for me, a time when I learned to love not just pop music but also slightly off the wall, non-chart-bothering songs too.

But there’s one person I admire and adore in pop who puts everyone else to shame when it comes to cover versions (and with non-chart-bothering songs, now I think about it): David Gedge and his band The Wedding Present. Now, I’m hoping Gedge’s is a name you’re familiar with, and I can hear my friends groan from here when I mention my love of The Weddoes (slightly quieter than when I mention Quo, but still…). Apart from Super Furry Animals (who, I’m sure you’ll agree are fucking awesome – see you at Brixton!), The Wedding Present are the band I’ve seen most often, and I would urge you to catch them at any possible opportunity.

Gedge has always been a fan of pop music and has turned in a remarkable string of cover versions, some of which I already knew the original of, but most of which made me go and check out the covered artist’s back catalogue.

Today’s post falls into the first category, one I, and you, know well, covered in the way that only the Wedding Present can:

Happy Birthday – Altered Images

Happy Birthday – The Wedding Present

Just to tie things up nicely, since they get a name check in the cover version, here’s the original of a  certain someone’s most famous song: a song so synonymous with them that most people don’t realise it’s a cover version. Now that’s how to do a cover version.

More soon.