Nov 092018
 

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

The Smiths

If you Google “perfect Smiths song,” you’ll find a lot of different titles – “The Boy with the Thorn in his Side,” “How Soon Is Now,” “I Won’t Share You,” “Half a Person,” and “There Is a Light That Never Goes Out,” just to name the results on the first page. But some opinions are bigger than others, and in lead singer Morrissey’s opinion, the perfect Smiths song – or at least, in his words, “very close indeed” – was “Please Please Please Let Me Get What I Want.” Allmusic.com calls it “a minimal yet lush two minutes of almost otherworldly beauty… Almost impenetrably sad, [it’s] a masterpiece both musically and emotionally.”

Starting life as a Johnny Marr instrumental called “The Irish Waltz,” the song became something more once Morrissey sang his lyrics of longing in a voice far gentler and quieter than his usual melodramatic croon. “Please Please Please” turned into a hymn to the art of pining and yearning, the anthem of the unrequited lover, cf. Duckie in Pretty in Pink. And it did so in a minute and fifty seconds, making it the shortest Smiths song ever. Why so short? Morrissey explained:

When we first played it to Rough Trade, they kept asking, “where’s the rest of the song?” But to me, it’s like a very brief punch in the face. Lengthening the song would, to my mind, have simply been explaining the blindingly obvious.

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Jul 262017
 
mark bryan hootie

Mark Bryan wears many hats. Best known as the guitarist co-founder of Hootie and the Blowfish, he also runs an after-school music program for kids and just won an Emmy for producing the PBS music series Live at the Charleston Music Hall. He’s lived in South Carolina for decades, and a concert there when he was in college inspired a track on his new album. It’s a good story, so we’ll let him tell it: Continue reading »

Aug 022013
 

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

From a Tom Waits interview, circa 1985:

You were in your early twenties on your first album, but you already had an old man’s perspective in songs like “Martha” and, though I can’t say why, “I Hope That I Don’t Fall in Love with You.”

I have a little trouble with those songs when I hear them. I don’t really like listening to my early songs. I guess I feel I got better as a songwriter.

Maybe they remind you too much of yourself at the time.

Probably. Yeah. A sentimental guy bellyaching. What the hell?

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