popwreckoning

If you have Andrew W.K. hosting a charity event, it’s fairly certain someone somewhere will feel the need to “Party Hard”. Clean-cut, non bloody-nosed, and newly married Mr. W.K. got the crowd revved up with his infectious positivity, motivational speaker-y vibes and encouraging personality. He sounded off on charity ventures through NYCares, the power of rock n’ roll, and how Indie Rock Karaoke is about good music, friends, fun times and “crushing the ego” in the name of good clean fun and coming together for a great cause. Thanks to NY Magazine, this yearly charity event is quickly becoming one of their more successful and crowd-pleasing benefits. Add ‘unique’ to the aforementioned since audience interaction makes it all the more worthwhile.

All eyes were on Andrew since it’s impossible not to love and respond to that high-energy and optimism. In fact, he’s so gracious that just being in his presence actually makes you want to be a nicer person. After discussing the importance of NY Mag’s annual coat drive for the homeless, he urged everyone to get involved in their other charitable initiatives for the greater good of New York. He then gave shout-outs to sneaker company Saucony for donating sneakers as raffle prizes, Glaceau (Smart) Water and Vitamin Water for the complimentary hydration, Cape North Vodka for purveying free booze during cocktail hour, as well as Gibson guitar for donating a badass guitar to one very lucky raffle winner. Blessed are the punctual event-goers who got there early since they actually enjoyed the free booze and the chance to sign up on the first come-first served master Karaoke list of classic punk songs and old favorites to be performed with backing band…

Ted Leo and the Pharmacists! Before the karaoke action could commence, the crowd enjoyed their full set that made our collective hands clap, toes tap and fingers snap. They amped up the crowd with their indie-punk sensibility during “Where Have All The Rude Boys Gone?” and “Counting Down The Hours”, as Leo played his guitar faster than Bobby Flay chops onions. Then they took it down a notch to a more reggae-friendly place while playing tracks off their most recent Living With The Living. Their new stuff maintains hard punk edge while providing a danceability that somehow works. Ted himself intimated that he now “has it all,” combining his love of black metal and dance hall. Oh Ted. Perhaps my favorite moment of their set was a rousing performance of “Hearts of Oak” with a guitar loop at the end that seemed to go on forever as he segued into the next track, “Heart Problems”, which he said had to do with the sorry state of universal health care in America. They closed with “Timorous Me”, and there was absolutely nothing timorous about it!

In between Ted Leo’s set and the actual Karaoke portion of the evening, Brooklyn’s own Finger On The Pulse had a DJ set that was actually pretty good, considering I’m not always the biggest fan of disc jockeys, but the karaoke portion was the true star of the evening.  Andrew W.K. started it off with a rousing take on The Kingsmen’s “Louie Louie” that got everyone up on their feet.  His hyperactivity always translates into memorable stage presence, as he’d shake and sway, punch the air and perform some kind of dropkick dance moves, I was waiting for him to give himself a bloody nose and I don’t think I was alone there.

The rest of the evening remained high-spirited and fun as audience members took to the stage and sang song after song with Ted Leo and company backing them up from artists The Stooges, The Cure, The Outfield and other crowd favorites (see set list here).With such an action-packed event, it’s hard to pick a highlight and sounds corny if I were to say “everything rocked equally,” but it’s true.  Between Andrew W.K.’s likability, Ted Leo’s ever-enjoyable live sets, and karaoke, everyone left a winner.  I leave you with a few of my favorite karaoke performances.  Drunk, sober, stage-frightened, what-have-you, they’re hysterical:

-The Kingsmen – “Louie Louie” (Andrew W.K.)
-The Outfield – “Your Love” (random event-goer, my favorite performance)

If you want highlights of each performance in one clip, this guy uploaded ‘em on YouTube.  Check ‘em out!  (Part 1, 2, 3, 4, and 5).  Watch out for Kelly Clarkson’s “Since U Been Gone” and The Ramones‘ “Blitzkrieg Bop.”  Both are highly entertaining.  But the winner of the evening was Aretha Franklin’s “Respect” cover.  Ahh, of course.

Welcome back, readers! Sometimes all it takes is a random browse of your mp3 collection to find that awesome long-lost song to write about. Today I feature “Gone Daddy Gone” by The Violent Femmes from their eponymous 1982 debut album. The most recognizable single from this album is probably “Blister In The Sun” but I’ve always preferred “Gone Daddy Gone”, “Add It Up” and “Kiss Off” to that crowd pleaser. If you’re into folk punk and are interested in hearing an album that helped create the genre, I urge you to pick this album up.  Not only is it fantastic from start to finish, but it’s the kind of music that’s probably even more exciting now than when it was released because it was totally ahead of its time.

.The Violent Femmes “Gone Daddy Gone” (original, 1982)
Oh brother! Just like every other song on this killer album, this song is bursting with raw energy. Lead singer Gordan Gano sings like a hard-up teenager looking for some action and he’s not the least bit embarrassed of this. In fact, this musical representation of yearning is probably his calling card. There are muted drum taps and twangy guitar riffs that allow Gano’s lyrics and vocals to carry this song to new realms of longing, but the real star of the show is the xylophone solo. In fact, solo is an understatement since cascading xylophonic sounds kick off the intro and punctuate all the choruses. Hell, they even have a breakdown featuring a xylophone solo that alternates with the normal, industry standard electric guitar. Normally I’d tell a person like Gano to quit his bitching and moaning, but in the case of The Violent Femmes I’d only hope he never stops. It’s so great, I almost forgot about the “beautiful girl, lovely dress.”

.Guster cover (2003)
Oh Guster! Can these guys ever do any wrong? For those who recall, this cover song was featured on MTV2 Album Covers: Guster/Violent Femmes, the album for the live performance they did in 2003 in honor of the Femmes. It was a short-lived series that only featured another cover set by Dashboard Confessional doing songs off R.E.M.’s Automatic For The People, but I think Guster’s performance brought the house down. Using the same snarky vocals as in the original, lead singer Ryan Miller proved his vocal chops and that he can whine just as well as Gordan Gano… and it still sounds the farthest thing from annoying. With equally irritated background vocals and that unforgettable xylophone, Guster captured the same yearning for affection that did the original complete justice. Go Guster, go!

.Gnarls Barkley cover (2006)
Oh gnarly! I love unexpected cover songs from bands that exist on different ends of the musical spectrum from the original band. Gnarls Barkley prove they’re more than “Crazy” rockers with this delightful update to a classic alternative rock song. I think the best part about this rendition is the stark contrast from the original. It lacks the same vulnerability and male complaint style of the Violent Femmes version, but it still holds up on its own in completely different ways. It’s faster, much more upbeat, and they even had the nerve to replace the xylophone with some drum machine beat that almost adds a danceable quality to the track. Normally this might piss me off; however, in this case I almost don’t mind it since this version still manages to feature a little bit of necessary edge. “Does that make me craaaaazy?” Possibly.

And for our a cappella fans, check out Harvard’s LowKeys‘ version from a live performance in January 2009 of “Gone Daddy Gone” that’s laced in with Aretha Franklin’s “Chain Of Fools” (umm, huh!?).  I won’t say much since I think their dance moves speak for themselves.

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Violent Femmes: website

Welcome to a special Under Cover: Showdown Edition.  In the interest of mixing things up, I’ve decided to feature some very popular cover songs that seem to have outshined their original versions.  Some of us may not even realize that the songs were originally someone else’s since the cover version has become far more recognizable and is, perhaps, even better.  These renditions are incredible because each took a great song, made it inherently their own, and turned it into something even more amazing.  So which song is better… the original?  Or the cover?  We’ll let you decide.

Otis Redding (1965) vs. Aretha Franklin (1967), “Respect”

I had no idea Otis Redding wrote the original!  Am I the only one?!  I thank resident soul expert and fellow PopWrecker Jesse, for sharing this live version because it rocks.  Serving as a musical plea for respect, honor, and recognition from a woman, Redding’s version climbed Billboard’s Black Singles Charts but also became a crossover hit for white pop audiences, as well.  This is quite an accomplishment for the 1960s, but I’m sure the musical genius of “Respect”, with its upbeat bluesiness and danceability, had a little something to do with it.  Even when the track heats up and he really begins to shout and holler, Redding’s voice still maintains a smooth huskiness that’s easy on the ears.  With jangly guitar splices, the jazzy sax appeal, and an infectious drum beat, it all complements Redding to create a rock n’ roll song with a helluva lot of soul.  Too bad they don’t write songs like this anymore!

Okay, they don’t call her the Queen Of Soul for nothing.  Aretha Franklin totally revamped “Respect” and created a feminist statement all at once in what is easily one of the best cover songs ever created.  Redding himself joked about his friend creating a musical and cultural phenomenon when he said, “that little girl done stole my song!”  Winning Grammy awards and coming in at #5 on Rolling Stone’s list of “The 500 Greatest Songs Of All Time”, Franklin’s version soared to new realms of success.  She reversed the roles to make “Respect” an anthem for under-appreciated women who refuse to let their men walk all over them.  Perhaps my favorite additions to the song that aren’t present in Redding’s version are the lyrics: “R-E-S-P-E-C-T / Find out what it means to me / R-E-S-P-E-C-T / Take care … TCB.”  And TCB (taking care of business) is just what Franklin did, with the unforgettable “just a little bit” background snippets, bluesy sax, and her incredible vocal range.  This song just makes me want to shake my neck, wag my finger at a trifling man, and throw his clothes off the fire escape and onto the street.  Respect.

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Leonard Cohen (1984) vs. Jeff Buckley (1994), “Hallelujah”

I’ve never been the hugest fan of Leonard Cohen’s folk rock sensability, but then again that stems from the fact that I never quite understood his musical vision.  Before I could write him off entirely, I heard “Hallelujah” and wasn’t ready to throw in the proverbial towel.  This song, powerfully cryptic in its lyrics, is either an ode to a religious experience, sexual pleasure, or maybe even both.  Who knows, really.  But it’s no secret that it’s purifying, uplifting, and definitely cathartic either way.  Unsatisfied with the song, it’s even been said it took a frustrated Cohen upwards of 80 verses to decide on the ones he felt worked best.  With a bass line that rocks you back and forth like a lullaby, the music never overpowers Cohen’s chilling, spoken-word delivery.  This is just one of those songs you need not understand.  It may give you chills, but it’s okay if you’re not quite sure how or why.

If Aretha Franklin’s cover of “Respect” is hailed by some as the best cover song of all time, then Jeff Buckley’s rendition of “Hallelujah” takes the spot as my favorite cover version ever.  Released on his album Grace and clocking in at just under 7 minutes, this is simply one of the most beautiful songs I have ever heard, cover or no cover.  Stylistically, Buckley’s rendition differs mostly by virtue of it being predominantly a simple, electric guitar version laced in with pure and innocent vocal delivery.  It plays like a lullaby as well, however Buckley’s voice is far more relaxing and prettier than Cohen’s.  It seems he succeeds here by hitting the high notes Cohen is incapable of, almost as if he took Cohen’s vision and completed it for him, producing even more stunning results.  Buckley himself called his rendition an homage to the “hallelujah of the orgasm.”  And if it weren’t for his tragic death, I definitely would have asked him to keep songs like these coming.

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Robert Knight (1967) vs. U2 (1987), “Everlasting Love”

You know a song is a classic when Oldies radio stations still play it like it’s brand new.  “Everlasting Love” is a feel-good, timeless love song with optimistic lyrics about eternal love and happy times for everyone.  Robert Knight, along with some in-your-face background vocalists, insist this love will last forever and vocally refuses to take no for an answer.  With gentle drum taps, a soulful voice, gentle “ooh’s” and “aah’s,” this song starts out softly… until the chorus drops.  Blaring horns, a landslide of female background singers, and one of the most infectious choruses, this song begins to pick up with no sign of slowing down.  And slow down it won’t!  A favorite for movie soundtracks still and a popular cover choice among dozens of famous musicians, maybe this “Everlasting Love” really will last forever.

Commercially, Gloria Estefan’s dance version may have fared better on the charts, but U2’s B-side acoustic version is a lot more rock n’ roll: sorry, Gloria.  Never one to shy away from singing about love, Bono and the boys created something so perfectly simple with their own rendition.  They sped up the tempo and threw in acoustic guitar work that charges right at you, yet still allows Bono’s resonant vocals to shine through.  Much like Robert Knight’s original soulful version, the rest of the band didn’t kick in until the second verse, adding a sense of urgency and a full-on sound.  I really liked the background vocals that echo in towards the end.  They add a soulfulness to the song and really drive Bono’s point home.  Even though this cover is a rock ballad, U2 still manages to always put a lot of heart and soul in everything they create.  And “Everlasting Love” is certainly no exception!

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So there you’ve heard it, folks.  Who wins this week’s showdown?

Cat Power likes covers. And, it turns out, so does everyone else. If the success of her cover-filled Jukebox is any indicator, fans will receive her new EP The Dark End of The Street just as warmly.

The record opens with the title track, an Aretha Franklin cover. While I don’t care for the way she pronounces certain words, or the slightly nasal quality in her voice, she still has an incredibly warm and inviting tone. Certain elements of the song remind me of Procol Harum’s “A Whiter Shade of Pale”. The whole song is very shoegaze-y and heavy on the reverb.

Next, and ridiculously appropriate for the current state of affairs is Creedence Clearwater Revival’s “Fortunate Son”. Power gives us a glimpse of the soul we know is inside her, but still doesn’t completely let loose. The rich harmonies over piano and strings is captivating.

I found a Pogues cover to be an interesting choice, but Cat Power makes the right choice with “Ye Auld Triangle”. An absolutely beautiful viola line carries through the tune, adding to the utter loveliness the song already possesses. Something in this song grabbed me, and it won’t let go, making it my personal favorite on the record.

Leave it to Otis Redding to get someone to let loose. On “I’ve Been Loving You Too Long (To Stop Now)”, Power finally lets the song almost control her. While her voice is beautiful, it’s always so very controlled, and those moments where you would expect a voice like hers to take over and knock the world on its ass are still so restrained. However, this disappointment doesn’t hinder the rest of the song. Her smoky tone is perfect in the sexy, soulful melody and the drum work is delectable.

With an introduction that sounds like a snowstorm, “Who Knows Where the Time Goes?”, originally by Fairport Convention, is nice, but not as captivating as the rest of the EP. The tune has a Colonial feel to it, with a nice piano line and a haunting organ.

Closing the album, (and rounding it out as well) is another Aretha cover, “It Ain’t Fair”. As I listen to the soulful and bluesy cut, and relish the brushes being used on the drums, I wonder what makes Cat Power choose the songs that she does. I wonder why she won’t let that rich voice of hers off of its leash so we can see what it’s really capable of. But even if she never does, and still continues to put forth these deliciously lo-fi gems, Cat Power will still be sitting pretty. After all, she’s indie rock’s Queen of Covers, and who doesn’t love a good cover?

Tracklisting:
1. Dark End of the Street
2. Fortunate Son
3. Ye Auld Triangle
4. I’ve Been Loving You Too Long
5. Who Knows Where The Time Goes
6. It Ain’t Fair

Cat Power: website | myspace | Jukebox review | @ virgin mobile 2008 | @ lollapalooza 2008

Written by: Sara Bellum