Jul 062018
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

froggie went a courtin covers

Most versions you can find of the traditional folk song “Froggie Went A-Courtin'” come from acts with names like “The Silly Billies” and “The Storybook Pixies.” They are unlistenable for anyone over three, and probably for your more discerning toddlers too. Even when folk-dabbling “serious” artists like Bob Dylan and Bruce Springsteen tackle it, their earnest attempts tend to embarrass otherwise worthy projects.

So I ventured to see if I could find some covers to redeem this most clichéd of children’s songs. It took some digging past the endless brightly-colored Wiggles numbers, but eventually I was able to find five adult versions. Just don’t play these for your kids. Continue reading »

Apr 092018
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

money for nothing covers

Dire Straits got a raw deal. Their Rock and Roll Hall of Fame class that should, in all rights, include Radiohead. This was the first year the band was eligible, and they in particular seemed like a shoe-in. No luck. Instead, Dire Straits are getting lined up right next to Bon Jovi and the Moody Blues in yet another slate of honorees inspiring endless articles about how out-of-touch the Hall is.

And I have nothing against Bon Jovi or the Moody Blues, but I hate seeing Dire Straits lumped in with the “classic rock for aging boomers” crowd. I mean, I get it, but Dire Straits are so much more than that to me. (Sidebar: I’d be remiss without nothing that Nina Simone and Sister Rosetta Tharpe are getting in, though it’s a shame the Rock Hall voters couldn’t find any living women or minorities to celebrate). Continue reading »

Apr 022018
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

The hype and controversy brought on by the release of “God Save The Queen” had barely subsided before the Sex Pistols followed up with their third single. “Pretty Vacant” was released just over a month later, on July 1st of 1977. Both songs rode the UK Top 40 charts simultaneously throughout that month with “Pretty Vacant” ultimately peaking at #6 during an eight-week run. In a half step towards “establishment” legitimacy, the band was invited to perform the song – via a promotional video – for its first and only appearance on the popular BBC television show Top of the Pops. Even this track – and, of course, this appearance – garnered controversy when the special emphasis John Lydon (a.k.a. Johnny Rotten) was placing on the second syllable of the word “vacant” become obvious.

Glen Matlock, an original founding member of the band later replaced by Sid Vicious, cited ABBA’s “SOS” and Small Faces “Wham Bam Thank You Mam” as inspirations for the iconic opening guitar riff and arrangement. The song was lauded by NME magazine as its 1977 “Single of the Year.” It would chart in the UK three more times: in 1992 on its 15th anniversary, a live version from the re-formed group in 1996, and most recently on its 30th anniversary in 2007. According to our research, it’s spawned more cover versions than any other Sex Pistols song outside of “Anarchy In The U.K.”

As you’ll see, the covers here represent an embarrassment of riches. So stick with us as we pogo through five standouts and then call your attention to another more-than-a-baker’s dozen!

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Mar 262018
 
god save the queen covers

For their second single, The Sex Pistols followed their call for “Anarchy” with a direct shot at the British monarchy. For publicity-hunting manager Malcolm McLaren, the timing – Queen Elizabeth II’s Silver Jubilee in 1977 – couldn’t have been more perfect. There was no denying the inflammatory nature of the song’s lyrics – with the Queen being referred to as a “moron” in a “fascist regime” – and the closing “no future” refrain became a symbol for the angry working class and the punk movement itself.

The song explodes with energy from its opening chords, which build – along with singer Johnny Rotten’s anger – into a brief instrumental break. After Steve Jones’ guitar lick, Rotten comes back for a final verse before launching into the aforementioned refrain. Cover Me readers might be interested to know that original Sex Pistol bassist and co-writer Glen Matlock’s opening riff was admittedly influenced by 60s’ rockers The Move’s song “Fire Brigade” (in the chorus) and Eddie Cochran’s “C’mon Everybody.”

The single sold 200,000 copies in the first week and despite being banned by the BBC went on to top the UK charts. [The BBC were famously believed to have suppressed the song at number 2 on their charts as “punishment,” not allowing it to be seen formally at number 1. It reached number 1 on the NME chart.] The iconic song charted again in 2002 and 2007 on its way to becoming one of rocks most legendary hits recognized by Rolling Stone, the Rock and Roll Hall of Fame, and various magazine polls.

There are dozens of generally uninteresting covers of the song that are little more than re-makes. We’ve sifted through the bollocks and found the ones you should know about. If you’ve been following this series, you’ve already heard a few. The unique twists below come from at least five different countries, proving once again that the sun never sets on the British Empire!

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Mar 182018
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

anarchy in the uk covers

With the release of over 70 SecondHandSongs-verified versions of the Sex Pistols’ debut single since 1976 (and many more informal covers), “Anarchy In The U.K.” takes the punk prize for being their most-covered song. The harsh rallying cry for Britain’s disaffected youth has generated over 10 million views on one YouTube post alone. As noted in our track-by-track covers review of Never Mind The Bollocks Here’s The Sex Pistols, “Anarchy” kicked-off a cultural phenomenon and has garnered accolades from establishment icons like Rolling Stone magazine and the Rock and Roll Hall of Fame which, at the time, the band would have stood systematically against.

The original appeared as a single nearly a year before it was featured on the band’s one and only studio album. It opens with the crashing of guitars, drums and John Lydon’s shout of “Rrrright! Now!” followed by laughter. The sonic assault breaks for a fake belch before Lydon resumes his screeching diatribe that includes a laundry list of politically themed abbreviations (IRA, UDA, MPLA) and the recently-discontinued British music newsweekly NME.

Music writer Tim Sommer in The Observer had this to say in a great article about the song on its 40th anniversary:

But for a staggering, shattering few moments, “Anarchy in the U.K.” and the Sex Pistols shocked the world as no other artist ever has or ever will. We can never recreate that moment, the instant when a rock band from the wrong side of the socio-economic spectrum made a loud noise and shouted “Match!” while sitting on a pile of dynamite, but here’s hoping it can happen again.

We’ve rounded up a variety of styles of the iconic track worth sharing. John Lydon marked his final live performance as Johnny Rotten with the question, “Ever get the feeling you’ve been cheated?” It’s safe to say that none of these covers will leave you feeling that way!

Continue reading »

Mar 092018
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

It is somewhat ironic that most people know only one song by The Only Ones— “Another Girl, Another Planet.”  Originally released in 1978, it received minimal airplay and attention, but its reputation has grown exponentially over the years.  The Allmusic review of the song asserts that it is “arguably, the greatest rock single ever recorded.”  Of course, people will “argue” about anything, and choosing “Another Girl” as the greatest rock single ever is a bit of a reach, but you have to give the reviewer his due for taking a stand.  It is a great song, and it is fitting that it ultimately received the acclaim that it deserved.

The Only Ones formed in London in 1976, led by distinctively anguished vocalist and songwriter Peter Perrett joined by guitarist/keyboard player John Perry, Alan Mair on bass, and drummer Mike Kellie.  Featuring strong songwriting by Perrett and surprisingly (for punks of the era) competent playing by the band, they self-released a single, “Lovers of Today.” It sold well enough that a bidding war broke out among major labels looking for the next big thing. Continue reading »