The Velvet Underground (original version), 1970: from Loaded
With his deadpan vocals and incredible talent, the ever-stylish Lou Reed was the arbiter of coolness back in the day. If it weren’t for the inventive rock stylings of his influential band The Velvet Underground, I’m not sure a lot of the rock I love today would ever have existed. Having inspired rock n’ roll, it appears their hit “Sweet Jane†struck a chord in the hearts of fans and musicians alike. Not only is it one of my favorite classic rock tunes, but it also appears to be a favorite to many publications like Rolling Stone and Q that have rated this song very highly on “Greatest Songs of All Time” lists. And lucky for music lovers, it’s a very popular song to be covered by many bands in the studio or during their live shows.
“Sweet Jane†is memorable to many people for myriad reasons. Maybe it’s the washes of guitar sounds in the intro? Maybe it’s Lou Reed’s cool delivery? Or maybe it’s the emotional intensity during the song’s lyrical breakdown that is too powerful to be forgotten (Anyone who ever had a heart / They wouldn’t turn around and break it! / And anyone who ever played a part / They wouldn’t turn around and hate it!). And then there’s the great mystery about what the heck this song means. Who is Jane? Does she exist? Is this a love song about a girl? Is it a rock n’ roll song about anti-commercialism? Are the rumors true that “Jane†is code for heroin and this song is about Lou Reed’s addiction to drugs? Did he just want the opportunity to write a song so he could brag that he was in a band? Who knows and who cares. It’s just a sweet song that never gets old.
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Mott The Hoople, 1972: from All The Young Dudes
Being one of the biggest David Bowie fans alive, I’m very picky about glam rock since it has to be done just right. It can be over-the-top, just as long as it has the right degree of over-indulgence in sound. And unless you’re Bowie, it’s hard to manage this delicate balance. But when the aforementioned is achieved, you’re in for some real aural pleasure!
Who knew 70’s glam rock could sound so good? I did! To the classic rock novice, Mott The Hoople is known as the band who sings “All The Young Dudesâ€, or the song playing in the background during Clueless when Alicia Silverstone complains about the hopeless state of greasy-looking teenage boys who dress like they just rolled out of bed (“…and I’m supposed to swoon? I don’t think so!â€). Appearing as the opening track of their Bowie-produced album All The Young Dudes, MTH put out their own solid version of “Sweet Jane†and it showcases why they became avatars for glam rock. This song is full of gorgeous sounds, lead singer Ian Hunter’s resonant vocals, cheerful strumming, and sunny music. My favorite part is when Hunter repeatedly wails “Sweet Jane†over the pretty guitar solo that closes the track. This is a feel-good anthem I could easily listen to everyday. And I think I will.
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Eater, 1977: from The Album
Did somebody call for run-of-the-mill 70’s Brit punk? Enter Eater and their uninspired version of The Velvet Underground’s classic. It’s hard to imagine just how sweet Jane is when lead singer Andy Blade insists on singing rather monotonously on the track, along with some of the most boring and unenergetic percussion I have ever heard. Instead of singing her praises, Eater’s version makes me want to pump my fist in the air and sneer at Jane in a Billy Idol-like fashion. I suppose that might just be what passes for romance in punk rock, but my “Cradle Of Love†is anything but rocked here. The tempo is much faster than the original, the sound is raw and much more garage rocky, but Blade’s vocals are completely lacking in range and depth to the point of possibly hitting the skip button on iTunes. Playing almost like a Ramones b-side moreso than anything else, this cover serves as an interesting take in paying homage to the original, but does not share its beauty.
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Cowboy Junkies, 1988: from The Trinity Session
The fact that most of you will recognize this incredible cover from the Trent Reznor-compiled Natural Born Killers soundtrack even if you’ve never even seen the movie speaks volumes about the sheer genius of this song. I heard this one around the time I was a musically-impressionable youth learning about early 90’s alternative. And in the precise moment I heard Margo Timmons‘ sultry swagger, I said “Hope Sandoval who?†Not that anyone could ever replace Sandoval’s (of Mazzy Star) voice in my heart, but Timmons nails this song on account of being bluesy, inventive, original, and nothing short of amazing. Her performance is just stellar and completely unforgettable.
High on my list of best cover songs ever created, Cowboy Junkies could teach a seminar about harnessing the magic of a classic song, allowing it to marinate with one’s own creative energy, and then standing back to let the sublimation put out something fierce (and arguably better). They reorganized the lyrics, laced in some seriously gorgeous guitar riffs, and produced some very sexy results. Inspired by Lou Reed’s slower live version, Cowboy Junkies mimicked his altered tempo and created almost a brand new song that Reed himself has described as “the best and most authentic version I have ever heard.†Wow! In such a bare-boned interpretation, I love how the original lyrics that are washed out by Velvet’s heavier guitars are actually able to shine beautifully in the Junkies version. Particularly, when Timmons sings “Heavenly wine and roses seem to whisper to me when you smile,†I fall in love each time I hear that. And each time I hear this song.
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Phish (live):
This is feel-good music to the max that you just want to leave on in the background while cooking, folding laundry or cleaning. It requires little thinking and you just have to let the airy and uncomplicated sounds fall all over you. One of the better jam bands out there, Phish takes a stab at “Sweet Jane†and turns it into something twice as fun, and twice as long in this live version. There’s guitars, cheerful backup vocals, piano, and if lead singer Trey Anastasio doesn’t put a smile on your face, well… I’ll let you finish that sentence for yourself.
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Gang Of Four (live):
British post-punk rockers Gang Of Four lent their distinct style to “Sweet Jane†in this interesting live cover. Employing deadpan vocals in the vein of Lou Reed, these guys put out something that’s definitely less annoying than Eater’s punk version, but is still a failure of the imagination since there’s really nothing special going on here. Given that this is an impromptu live version, I’m in a more forgiving mood since I probably would’ve been pleasantly surprised to hear this at a show and less critical over the nature or quality of the cover in the moment. Sometimes music doesn’t have to be inventive as long as it’s listenable, which this clearly is. They also did, however, succeed in providing a rock n’ roll danceability to “Sweet Jane†in a way that The Velvet Underground did not. So to you I say, “Good show,†chaps.
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The Kooks (live):
If you haven’t picked up on this already, I’m a big fan of the live cover… especially this “Sweet Jane Beast Of Burden†one by The Kooks that is straight up ridic. Lead singer Luke Pritchard has absolutely the cutest Brit rock vocals here that I’m willing to overlook the fact that he insists on wearing v-neck t-shirts and sweaters (eh). The reason why this cover blows my mind is twofold. Firstly, it rocks. It’s fun, energetic, and well-executed. Secondly, halfway through the song they lyrically launch into “Beast Of Burden†by The Rolling Stones. Whoa?!?! Not only is this my favorite Stones song, it’s also quite possibly the sexiest rock n’ roll song ever written (in my not so humble opinion). Pritchard starts with the “Beast Of Burden†lyrics, but the music becomes a mashup of “Sweet Jane†riffs mingling with that pretty “Beast Of Burden†guitar-work. All of this creates a musical amalgam of The Velvet Underground and The Rolling Stones, with a dash of The Kooks that is all kinds of whole ‘nother post awesome. Enjoy!
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Ok, for YEARS, up until this very moment, I was sure that the Cowboy Junkies version was Mazzy Starr. Epic Failure on my part. Damn.
Rookie mistake! It’s okay, they do sound very similar, but Margo has more clarity in her voice. Hope kinda has this sleepy/moany quality. Both rock, no doubt.
Don’t worry. I still know lots of people who still think the Who’s “Baba O’Riley” is called “Teenage Wasteland”
The cowboy junkies version can never be topped. I love that band.
Yeah, totally. In all honesty, I wrote this piece for the pure reason that I could include their version. It’s pretty rare to prefer a cover to an original, I’d say.
Whooooooo the Kooks ROCK!!… but I’ve heard both these song far too many times…zzzzzzzzzzzzzzzzzzzzz! THE WHO were/are the only BRITISH INVASION band other than the BEATLES that matters/mattered P.T. is GOD!!! CHECK OUT HIS WEB SITE (POSTED) PEACE MATE! Cheers!, ‘enry ‘enry HenryPonds
Oh Henry, how typical. You can’t talk about classic British rock n’ roll without someone asking why The Who wasn’t mentioned! They’re great, but they’re no Stones, my friend
I do love P.T.’s “Let My Love Open The Door” and would love to write a feature on it… if I find enough covers too! Check back.