The Cure (original version), 1987:
When considering their entire catalog of depressive numbers, The Cure’s ever-euphoric “Just Like Heaven†is easily their most displaced tune. I know, a happy Cure song? If that isn’t the non sequitur of the 80’s then I’m not sure what else is. For a band whose name is pretty much synonymous with downer music (god, I love that shit), this song’s ironically hopeful message of love and happiness is perfect for their manic depressive fans’ playlists. It’s an instant mood-lifter that makes you fall in love everyday, and not just “Friday.†Put this one on in the AM and you’ll wake up, jump out of bed, kiss the morning and convince yourself that today is the best day of your life, even if it’s not.
Frontman Robert Smith claims this song is about “hyperventilating- kissing and fainting to the floor†and he was inspired to write it after a memorable trip with his then girlfriend / future wife to an English oceanside. She must be one remarkable lady considering any woman secure enough to marry a man who wears more make-up than she does is probably worth holding onto. The song captures the euphoric feeling of newfound love when everything is right, everyone is perfect, it’s all new and exciting and no one hates anyone yet. So basically, the first two weeks? (I kid, I kid.)
Wistful, dream-like, romantic and pure, the instrumentals are as beautiful and memorable as the descending guitar riff used between verses. The drumming intro is so upbeat it makes you wanna dance around the room, particularly the drum roll in the beginning which is quite easily my favorite of all fucking time. The guitar licks are tiny pieces of heaven, the lyrics are uplifting, the synth is soft enough to line clouds, and the layered guitars are melodic, smooth, and ripple over each other like melted chocolate. If this song doesn’t make you happy, I’m not sure if anything ever will.
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Dinosaur Jr., 1990: released as single
Raw and emotive yet in the most relaxing kind of way, J Mascis sings like he means it along with the backdrop of pulverizing music lent by his now fossilized bandmates. Their sound is/was always contradictory: loud, but quiet. Elegant, but garage rock. And it is this constant contradiction in their music that creates a textured, edgy cover that still manages to tug at the heartstrings. It has even been said that this version is Robert Smith’s own favorite because it is passionate and showcases the most “visceral reaction” he’s ever heard. In fact, he likes it so much that Smith has gone on to claim it has influenced the way The Cure has played their own version live ever since. Wow! A compliment from Robert Smith himself is quite possibly worth a thousand from anyone else.
Dinosaur Jr. differs in their approach since Mascis is more laid-back in professing his love. While Smith is usually over-the-top emotional, Mascis is king of meaning it in a more removed vocal fashion. Plus, instead of synth, they employ wailing electric guitar that rocks harder than The Cure’s elegant riffs. I kind of love/hate the “YOU! Soft and only, YOU! Lost and lonely, YOU! Just like heaven†with the screamo guy in the background. I understand their desire to be emphatic, but sweetie… it kinda sorta kills the romantic vibe. I mean, there’s a reason why Thursday rarely gets asked to play at weddings.
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Goldfinger, 1999: from Darrin’s Coconut Ass: Live from Omaha
Much like Goldfinger’s calling card, this interpretation is fun, energetic, fast-paced, and danceable. It is the quintessential punk rock cover by virtue of the jagged guitar riffs, sped-up rhythm, and the fact that they hardened up the original lyrics to be “I kissed her face, I kissed her neck†(“neck†replaced “headâ€). As with most punk, their song quickly gets straight to the point, making it half as long as the original. They opted to skip the gorgeous washes of sound in The Cure’s intro and instead launched straight for the “Show me, show me, show me how you do that trick!†lyrical opener. Playing like the musical equivalent of one Jolt soda too many, Goldfinger delivers a one-two pop punk punch that actually feels good.
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Katie Melua, 2005: from Piece By Piece
Norah Jones fans will love this one, particularly because Katie Melua’s version sounds like something straight out of Jones’ musical repertoire. Katie’s got pristine vocals that are innocent and clear, yet manage a respectable amount of sultriness, too. This cover plays like a full-band acoustic on the jazz tip, complete with soul-sister background vocals, gentle strumming, lots of bass, and mellow mood sounds. It’s just a gorgeous and incredibly unique interpretation that’s perfect for getting your horizontal sway on to. Yeah, this is prime make-out music. She changes some of Robert Smith’s notes, but manages to hit newer ones that evoke a different yet equal excitement just as the original does.
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Gatsbys American Dream, 2005: from Punk Goes 80’s
This version differs in tonality, rhythm, beat, and intensity, producing an even 80’ser cover. Plus, lead singer Nic Newsham sings like he’s a de facto member of All American Rejects and isn’t the least bit ashamed of this fact (not that he should be?). The vocals are a bit off, the musical timing is disingenuous, the romance factor isn’t as pronounced, and the lush guitar of The Cure’s version has been replaced with more electronic and synthesized fare. In essence, this will all intrigue you or completely dissuade you. Whether it’s the former or the latter, I will leave this to you.
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A.F.I. (live), 2006:
This version pleasantly surprised me because I predicted it would be awful. Instead, it plays almost like an updated version of what The Cure would be like (vocally and musically) if they came about in the same era as A.F.I. did, almost as if lead singer Davey Havok were Robert Smith’s kid brother. The guitar-work is crisp and clean, even the drumming is on point as The Cure’s timing (no metronome needed!). Paradoxically, this version manages a hardness in sound, yet is able to simultaneously exhibit a softness as well. And for listeners, this results in a version that showcases the subtle musical intricacies created by the original to shine through beautifully. Plus, for a live mp3, their quality is great and I now regret never catching ‘em on tour.
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Charlotte Martin, 2007: from Reproductions
Tori Amos called… she wants her talent back! Aside from being a subpar Cure cover, this piano version further irks me as a cheap Amos knock-off. Plus, “Just Like Heaven†is an upbeat pop gem, why lame it up with a sucky hotel bar piano version? Huh? Who green-lit this one? I could go on a tirade here, but I’ll instead leave you with this. Upon hearing Vanessa Carlton‘s debut CD, I quote Dave Grohl in a 2002 Spin feature when I say “What the hell is this shit? Is it someone’s piano recital? Who’s Vanessa Carlton?” Different musician, but I think the sentiment still applies.
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The Watson Twins, 2008: from Fire Songs
Liking this cover perplexes me. Is this because it’s good? Or because The Watson Twins put out something that is such a departure from the original? Lose Robert Smith, ditch the synth and fast-paced rhythm, replace the aforementioned with two females’ penchant for folk rock and dual harmony…and this cover remains. With an undeniable alt-country feel, harmonica-laden and bluesy leanings, this version is slow-paced, romantic, and perfect for the last “couples dance†number of the night at some midwestern hoe down or county rodeo after party. Annie get your gun? Nah. Instead, throw a lasso around that hot cowboy in the corner and promenade on home to your place with the quickness.
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So there you have it, folks. Which cover is Earth-bound and which ascends furthest into “Heaven?”
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