popwreckoning

The backstory of London, England’s the Big Pink is, shall we say, quite interesting. Robbie Furze (vocals/guitar) and Milo Cordell (programming/keyboards/synthesizer/vocals) first joined up to run a record label called Hatechannel. At the end of 2007, they got to the point where they wanted to make some noise of their own and see where it would lead. They’ve admitted that they originally wanted to be “the digital Velvet Underground” and “more Phil Spector than My Bloody Valentine“; these descriptions may give you some indication of what they sound like if you’ve never heard a tune of theirs. But their foundations in loving the Band (whose first album provided the band’s name – Furze’s parents were huge fans of Robbie Robertson‘s group) and soul legends like Sam Cooke and Otis Redding should not be dismissed. In fact, the duo now say they are more of a “soul band” than anything else; they are quick to dismiss the lazy “shoegaze” label that was applied to them almost immediately when they first appeared on the British music scene. They appeared at the Black Cat Saturday night with Long Beach indie rock band Crystal Antlers.

Because of the freak D.C. area snowstorm earlier and the deathly cold temperatures, I wasn’t sure how many people would actually be in attendance. Before the Friendly Fires / the xx show at the Paradise in Boston the night before, I chatted with some fellow English music fans who said the crowd for the Big Pink at that venue earlier in the week was small (around 100 people). So I wasn’t sure if Washington would make a good showing. When my friend and I arrived in our winter coats and stepped on the main stage floor at 10, my worries disappeared as I saw the crowd that had assembled and ready to receive the opening band (which, in my experience, isn’t always the case at a local show). Phew.

Crystal Antlers launched into a set of psychedelic but raucous numbers. The first question that came to mind when they started playing: do you like Procol Harum? (Their classic “A Whiter Shade of Pale” should jog your memory, if you ever listen to compilations with names like Songs of the Sixties.) If yes, you will like what organ player Cora Foxx brings to the table. Jonny Bell, the band’s singer/bassist, has a shouty style of vocal delivery that didn’t impress me much, but the audience was receptive and overall approved of the band’s sound, especially when they went for it, guitars flying and percussion crashing (drums by Kevin Stuart and all manners of other percussion by a very lively Damian Edwards). A good example of their style was “Tentacles,” the title track off their 2009 debut album.

When the crew began setting up the stage for the Big Pink, I spied strobe lights, big and small, being hauled out and carefully arranged. The last time I’d seen anything like it at the Cat was for White Lies last winter. In a ridiculous way, the Big Pink’s lights and fog far surpassed that of White Lies’s set-up in March. I think both the lights and fog detracted from the fantastic, but brief performance they put on for us. Furze stood center stage in a black muscle tank – note emphasis on the muscle. The boy is ripped. He was also sporting a Metallica tattoo on his right arm and multiple gold necklaces (with key pendants) around his neck that looked like they were stolen from the stylist’s trunk of the xx. Cordell stood behind his synthesizer, wearing a hoodie and looking completely content to let Furze take the limelight.

Live, Cordell and Furze are augmented by Leopold Ross (bass) and Akiko Matsuura (drums/vocals). One of the best moments of the night was when Furze and Ross went balls to the wall with their guitars, like in “At War with the Sun,” balanced oh so well with the wistful refrain of “Young hearts know nothing but say it all / celebrate no control / but it is enough to realize / and miss us when we’re gone / live for the words that we sung / and don’t let go.” Breathtaking. Furze slowed things down a bit with a cover of Otis Redding‘s “These Arms of Mine,” which showcased his amazing voice. The Big Pink’s far too brief set was punctuated by their latest single, the almost celebratory “Dominos,” fists a-flying in the crowd to the band’s rhythms. Bloody fantastic. Following the 2010 Shockwaves NME Awards Tour in the UK in February, the band will return to North America next year for a March-April tour – I highly recommend seeing them before they start filling bigger venues.

The Big Pink Set List:
Too Young to Love
Frisk
At War with the Sun
Velvet
Crystal Visions
Count Backwards to Ten
Tonight
These Arms of Mine (Otis Redding cover)
Dominos

Tour Dates:
Mar 10 – Great American Music Hall / San Francisco*
Mar 12 – Neumo’s / Seattle*
Mar 13 – Venue / Vancouver*
Mar 14 – Doug Fir / Portland*
Mar 18 – First Ave / Minneapolis*
Mar 19 – Turner Hall / Madison, WI*
Mar 20 – Metro / Chicago*
Mar 22 – Southgate House / Newport, KY*
Mar 23 – Grog Shop / Cleveland*
Mar 24 – Mod Club / Toronto*
Mar 26 – Cabaret / Montreal*
Mar 27 – Paradise / Boston*
Mar 28 – Maxwell’s / Hoboken*
Mar 30 – Webster Hall / New York City*
Mar 31 – Theatre of Living Arts / Philadelphia*
Apr 01 – Rams Head Live / Baltimore*
Apr 02 – Cat’s Cradle / Chapel Hill, NC*
Apr 03 – Masquerade / Atlanta*
Apr 05 – Club Downunder / Tallahassee*
Apr 07 – Warehouse Live Studio / Houston*
Apr 08 – Parish / Austin*
Apr 09 – Granada / Dallas*
Apr 10 – Bottleneck / Lawrence, KS*
Apr 11 – Bluebird / Denver*
Apr 12 – Urban Lounge / Salt Lake City*
Apr 14 – Rhythm Room / Phoenix*
Apr 15 – Casbah / San Diego*
* with A Place to Bury Strangers

The Big Pink: website | myspace
Crystal Antlers: myspace

On Tuesday, August 4th, music historian/author Richie Unterberger is hosting an event to discuss his new book, White Light/White Heat: The Velvet Underground Day-By-Day, from 7pm-9pm at Robin’s Books/Moonstone Arts Center at 110a S. 13th Street in Philadelphia (13th between Sansom and Drury/Chestnut). The presentation will include rare audiovisual material from throughout the Velvet Underground’s career  and signed copies of the book will be available for purchase. Admission is free.

The Velvet Underground, fiercely confrontational, literate, primitive, and heartbreakingly melodic, remain one of the most influential bands in the history of rock, inspiring everyone from David Bowie to The Jesus and Mary Chain. Surprisingly, the group was unsuccessful in its day, selling small numbers of records, largely because its monochrome look and photo-realist lyrics were at odds with the garish colors and peace fantasies of the hippie era. It was only when Bowie started to champion the band in the early ‘70s, after the group had split up, that the Velvet Underground’s reputation started to spread.

In White Light/White Heat, Unterberger analyzes the band’s career and influence in forensic detail, drawing on dozens of new interviews with band members and associates, previously undiscovered archive sources, and a vast knowledge of the music of the times. The result is an articulate, authoritative, immensely detailed history, the most thorough work on the band yet published.Unterberger is an acclaimed author and music historian, renowned for his meticulous research, so it should be no surprise that In White Light/White Heat is poised to become the quintessential Velvet Underground tome.

White Light/White Heat, now available on Jawbone Press, is by far the most comprehensive book on the Velvet Underground ever published. The 368-page volume details the group’s recording sessions, record releases, concerts, press reviews, and other major events shaping their career with both thorough detail and critical insight. Drawing on about 100 interviews and exhaustive research through documents and recordings rarely or never accessed, it unearths stories that have seldom been told, and eyewitness accounts that have seldom seen print, from figures ranging from band members to managers, producers, record executives, journalists, concert promoters, and fans.

White Light/White Heat also features more than 100 illustrations, including reproductions of rarely or never seen photos, concert posters, letters, and other assorted documents and memorabilia. It’s the ultimate history of the band that did more than any other to break down barriers between rock music and the avant-garde, incorporating electronic innovations, experimental instrumentation and improvisation, and lyrics detailing the realities of sex, drugs, and rock’n'roll with greater skill and daring than anyone else.

In addition to being a regular contributor to the All Music website, Mojo, Record Collector and many other publications, Unterberger has also written dozens of liner notes for CD reissues of classic 60s and 70s albums. His previous books include Unknown Legends of Rock’n'Roll, Eight Miles High and Turn! Turn! Turn!

No music fan should miss Unterberger’s appearance on Tuesday, August 4th from 7pm-9pm at Robin’s Books/Moonstone Arts Center in Philadelphia. It’s the best music event in the city that night until Gang Gang Dance takes stage at Kung Fu Necktie later that night, and it’s free! So no excuses!

Richie Unterberger: website | buy now

Welcome back, readers!  I’ve been meaning to do the inevitable Rolling Stones-esque post for a while now and my reasons were threefold: 1) They’re only one of the best fucking bands on the planet (still) .. 2) The Rolling Stones are about as relevant to me now as a child growing up on classic rock .. and 3) It is safe to say that “Wild Horses” is the earliest song I can remember absolutely falling in love with the instant I heard it.  It is quite possibly one of the most beautiful songs I have ever heard and if I ever became a musician, I would probably cite “Wild Horses” as the defining moment when I decided to pick up a guitar. 

Suffice it to say, the Stones got me into rock n’ roll and it’s been a lifelong love affair ever since.  The quintessential “sad love song,” it’s a little bit country, it’s a little bit rock n’ roll, but it’s all kinds of incredible and the lyrics are as poetic as they are universally relatable.  I’ve been known to tell people my favorite Stones song is “Beast of Burden” because I listen to it more, but truth be told it really is “Wild Horses.”  Mick Jagger poignantly suggests “Let’s do some living, after we die” in the last verse.  I’m down for that… as long as that includes listening to this song.  And the Stones.  Forever.  There are about a zillion covers of this song, so I figured I would do a little Top 5 list of my personal favorites.  But first the song that started it all, the original Rolling Stones version:

.The Rolling Stones – “Wild Horses”
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#5 – Garbage [live] cover
I’ve said it before and I’ll say it again, Garbage is one the most underrated bands ever.  Shirley Manson‘s raspy vocals are in a class of her own and her backup band are capable of some serious instrumentation.  I actually don’t know where this one was played or even when, but performing such an unlikely country-fied live cover of this song only adds to their coolness factor.  In fact, I would never expect to hear such bluesy guitar work from Garbage if they weren’t doing a cover; it almost kind of suits them, and in a way I can’t help but wonder about the possibilities if they decided to widen their musical range.  Manson’s monotonous vocal delivery may annoy some people and it may be hard to believe her undying love when she sings “No sweeping exits or offstage lines / Could make me feel bitter or treat you unkind.” I actually dig her delivery; she may sound like she couldt care less, but I like to think she’s gone numb for feeling so much in spite of everything that has transpired.  To be fair, I may just enjoy this cover due to my love of Garbage and not so much because it’s highly inventive or adds something more to the original, but at least I’m being honest.
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#4 – Elvis Costello with Lucinda Williams [live] cover
I’m such a fan of the artist testimonial, so it’s neat hearing how much other equally incredibly performers love this song, as well.  Again, to be fair, I love Elvis Costello and I may be guilty of nepotism for featuring him here but that’s allowed when it’s your own Top 5 list.  Enlisting the help of Lucinda Williams, these two put out an uber-country tinged duet with lingering backing guitars that seem to croon and moan as much as they do.  This one doesn’t shine like the original, but that’s okay since this is merely in homage to such an untouchable classic rock gem.  And to my knowledge, this is the only duet I’ve ever stumbled upon.  With twangy guitars, soft piano licks, and a seemingly slower pace, this rendition almost lulls the listener’s heart to a more peaceful albeit painful place.
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#3 – Jewel [live] cover
Do they even have wild horses in Alaska?  I was actually researching the inevitable Tori Amos cover and shockingly found nothing, but I did stumble upon Jewel‘s surprisingly awesome piano rendition. I felt I also had to feature this since she prefaces her song saying “This is possibly one of the first songs I fell in love with,” just like me!  Having never particularly been the hugest Jewel fan, I figured she would yodel all over this song especially during the “wild horses couldn’t drag me awaaaaaaay” in the chorus, but thankfully she contained herself.  Instead, she allowed her struggling voice to strain and crack which I found much more appealing.  Not only does it represent the painfully sad nature of the song, but it almost sounds much more natural and raw, all of which enhances this performance.  In a way, it almost sounds like she smoked a pack of cigarettes pre-song which adds a sexy, huskier texture husky to her voice I’ve never heard before.  Wow, this may be the first time I’ve ever promoted cigarette smoking.
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#2 – Iron & Wine with Calexico [live] cover
This one is smooth like a fine wine and the pairing of Iron & Wine‘s (aka, Samuel Beam) folk rock sensibility with the dusty southwestern rock styling of Calexico makes for some gorgeous music, on or off the trail.  If a truly unique mash-up between two indie rock  outfits weren’t mind-blowing as is, wait ’til you hear this one.  It’s folky, jazzy southwestern rock, pseudo-country, mellow, soft, melodic, lush, it’s just a really rendition that I like to leave on in the background when I’m laying around doing nothing.  There is so much going on in this version that’s it’s almost impossible to put into words all the different layers of instrumentation and vocal harmony.  And when Calexico adds their signature southwestern rock charm to the mix, I actually believe it when they sing “Wild, wild horses / We’ll ride them someday.”
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#1 – The Sundays cover
No contest!  No, it’s not The Cranberries.  No, it’s not Hope Sandoval of Mazzy Star.  These hauntingly beautiful vocals belong to Harriet Wheeler, lead singer of British alternative band The Sundays.  Some may recognize this track from the Fear soundtrack, particularly that “climactic” roller coaster scene when Mark Wahlberg, well, takes his hand on a little trip South of the Border with Reese Witherspoon.  Anyway, this cover song has extreme sentimental value for me since it’s been known to have gotten me through some rough and trying times.  I love the jangly guitars, her incredibly resonant voice, the overall ethereal quality and the fact that this sounds like the sweet indie dream pop I live for.  I could listen to this song on loop for hours, I have and I do.  And when she sings, “Oh, I watched you suffer, a dull aching pain / Now you’ve decided to show me the same,” I actually want to call up Mick Jagger and tell him “Oh man, I know what you mean.” Not only is this my pick for the #1 cover of “Wild Horses” of all time, but it is arguably my pick for best/favorite cover song of all time, too.  As the Cowboy Junkies did for The Velvet Underground‘s “Sweet Jane”, The Sundays took a Stones hit, stripped it down, and made it entirely their own and it’s hard to believe this isn’t an original tune of theirs.  I particularly love when Wheeler harmonizes with herself in the closing chorus, which only highlights how gorgeous her voice is.  And wild, wild horses couldn’t possibly take me away from such a classic cover song.

Hey PopWreckers, Happy New Year!  Welcome to an Under Cover: New Order (for a New Year) Edition.  In the spirit of a new year, new resolutions, new friends, a new president, and new world concerns, why not feature a band that is/was no stranger to artistic innovation and, well, newness– New Order!  Often cited as influential to many indie bands and musicians that we all love, New Order pushed their version of 80s downer, electronica, and experimental alternative rock to memorable heights.  If it’s possible for any of our readers to be unfamiliar with this great band (::gasp::), I highly recommend making a new year’s resolution to fully digest their entire discography.  As for the rest of us [who hopefully already love New Order], here’s to a great year of new and exciting music.  Cheers!

website

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New Order’s “Bizarre Love Triangle” vs. Frente! cover (1986, 1994)
Best song ever written about an alleged love triangle?  Perhaps!  Sometimes the mark of a great song is the fact that there’s about 387 versions of it available for your listening pleasure, whether it be the original uncut version, extended version, radio edit, DJ so-and-so remix, what have you.  It’s also a good sign when this song comes on the radio or at a bar on the jukebox (I almost always select this one) and it still excites you like it’s the first time you’ve ever heard it.  “Bizarre Love Triangle”, apart from being one of my favorite all-time songs ever, is probably one of New Order’s most recognizable hits.  It boasts simple romantic lyrics, a catchy tempo, an infectious blend of electronic bleeps and sounds, earnest vocal delivery, and a drum and bass line that make you want to dance around freely while mouthing the words.  It is poptronica at its finest.  And that lovely chorus: “Every time I see you falling, I get down on my knees and pray… I’m waiting for that final moment, you say the words that I can’t say.” Could it get any more beautiful?  I can’t even begin to tell you how many times I’ve been out and this song comes on and people in my company will sing along even though they admit they have no idea who sings it.  And this is the genius and power of ”Bizarre Love Triangle”.

Perhaps one of the more famous covers, Australian band Frente! served up an acoustic version of “Bizarre Love Triangle” that may have gained popularity due to its complete departure from the original.  Stripped-down, bare-boned female vocals, gentle plucks on an acoustic guitar, half the length of the original, this one starts as quickly as it begins.  There are absolutely no washes of that gorgeous electronica here, an element that essentially makes New Order’s version as great as it is.  However, the simple melody still remains catchy and, perhaps surprisingly, still holds up.  The fact that the original song can be performed myriad ways in different styles and genres is merely a testament of its versatility and general greatness.

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New Order’s “Ceremony” vs. Galaxie 500′s cover (1981, 1989)
This isn’t the most popular song in their catalog, but it’s utter Joy Division-ness (at least moreso than their other songs) speaks to me since this is actually an original Joy Division track.  It wasn’t until leftover members went on to create New Order that this song was modified and re-released.  And all it takes is a few seconds into this version for it to become decidedly new (Order).  This is a great example of the fluidity of their musical abilities and shuts up any critics who want to write them off as just some electronica band.  The guitars are atmospheric and lush, the vocals are muted but powerful, the bass line is so entrancing, and the synergy of sounds exceeds the sum of the musical components.  And there is just something about New Order’s guitar riffs upon listening that literally cut your emotions to the bone.  Their music makes you… feel.  It’s hard to explain, you just have to hear it.

Apparently, indie trio Galaxie 500 felt a little something, too, after hearing “Ceremony” since they offered their own slowcore cover version.  The tempo isn’t as fast, the guitars don’t wail as hard, and even though the vocals are rather soft, the song still comes together quite nicely.  Particularly, the musical outro with all that moody guitar.  It’s quite evident that The Velvet Underground is one of their influences since there are some stylistic similarities in this version’s guitar playing.  Not to mention, this plays like something the Jesus and Mary Chain would put out.  So I wouldn’t be surprised if shoegaze fans rate this cover highly.

myspace

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New Order’s “Blue Monday” vs. Orgy’s cover (1983, 1999)
Another great New Order classic that has more recorded varieties than the measly 57 that Heinz Ketchup brags about.  If you’ve never heard this song than clearly you are living under a sound proof rock dwelling of some kind and need to check into music rehab.  Chilly deadpan vocals, dark lyrics, throbbing synth lines and heavy electronica bordering on a slightly industrial feel, “Blue Monday” will make you want to start break dancing even if you don’t know how.  The song dares to ask “Tell me how does it feel, / When your heart grows cold?” Hmm, who cares to answer when the music takes you to your own personal island away from everyone else.

Then there’s 90s industrial rock outfit Orgy that set out to prove that they weren’t just Candyass rockers with a penchant for guyliner.  Their hard-hitting cover of “Blue Monday” was a huge hit for them and a rousing version to boot.  I love the Wolfsheim-y “insert generic German industrial band” stoic vocals laced in with heavy guitar licks and an almost sinister synth lining.  They subtract New Order’s signature electronic solos and transform them into a memorable guitar riff that spirals through the song.  These guys take the original and turn it into an anthem-like, musical “Leave me the F alone.”  And hey, sometimes all we want is to be left alone… hopefully, so we can lay around with our favorite music.

website | myspace

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Stay tuned for Part 2 of Under Cover: New Order next week because a great band deserves two posts!

In the show “Keys to the VIP”, a panel of four “pickup experts” sits back and watches as two guys are sent into a club and given seduction challenges. They might have to just get a sexy picture with a girl or they might need to get a phone number; stuff like that. If you haven’t seen it, it’s because it’s a Canadian show that plays on the Comedy Network (Canadian version of Comedy Central [Ed. note: similar to the US' "The Pick Up Artist"]). The beauty of watching the show is that every contestant who knows what he’s doing has a clearly defined style – or, dare I say, art – of seduction. Some of them are smooth and sexy, some are brash and aggressive, others are sweet and charming – whatever they know their strengths are, they play to them. As one of the members of the panel, Alen, writes about seduction on the Comedy Network website, “Your job is to capture a word in your target’s mind. For example … does she think you’re funny, mysterious, outrageous or sweet?”

In music, the best bands have the same effect on listeners. For example: The Beatles = poppy, happy, colorful; The Rolling Stones = bluesy, exciting, sexy; The Velvet Underground = arty, druggy, cool; and such. On King of Rosa, The Dead Trees deliver song after song of sturdy, hooky songwriting, but the band never settles on one solid identity and the listener is never given that word to hold on to. No, that doesn’t make The Dead Trees so good that they defy classification, in this case it means that their art needs finesse.

The first two tracks, “OK Standby” and the single-worthy “Shelter” are both based on a great repetitive bluesy riff. This presents the band as post-garage-rock-revivalists (don’t ignore the “post” bit, nothing here sounds like the Von Bondies or anything of that ilk) until the Elliott Smith-esque piano waltz “My Friend, Laura, She Never Asks” dismisses that notion. It’s a great song, but it destroys any unified feel the album could have had by just being too different from the tracks preceding it. The same could be said about every track that follows it. There’s nothing wrong with being eclectic, but when no clear voice emerges, what you have isn’t eclecticism but an identity crisis.

Even with the lack of an identity, the quality of the writing is still impressive. “Killer in Me” makes the band sound like an American version of British Sea Power while the moody “I Here, I Want” could pass for classic Pavement (albeit much cleaner) right before the neo-British-invasion-style “Loretta” shreds shit up. The band even tries the quieter, acoustic-er approach on “Let Me Sleep” and “New England Skies”. There’s no point on the album where they do not succeed at the style they’re attempting.

While the best bands and albums manage to fuse various influences into a congruent and definitive style, on their debut album, The Dead Trees play musical dress up, imitating different heroes on every song. While the performance is convincing and more than enjoyable, The Dead Trees need to grow a personality before anyone is going to take notice of them.

King of Rosa is available now from Milan Records.

Tracklisting:
01. OK Standby
02. Shelter
03. My Friend, Joan, She Never Asks
04. Killer In Me
05. Instrumental
06. I Have, I Want
07. Loretta
08. Let Me Sleep
09. Twin Cities
10. New England Skies

The Dead Trees: website | myspace

Written By Marc Z. Grub

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 Dudes”, 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!”). 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.

website | myspace

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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.

website

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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.

website | myspace

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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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