Jul 162019
 

In Defense takes a second look at a much maligned cover artist or album and asks, “Was it really as bad as all that?”

Pat Boone

Reasons abound for maligning Pat Boone’s career in popular music. The catalyst for his career was a string of covers of R&B tunes by black artists for whom the legacy of segregation never afforded the same amount of wealth. White artists made substantially more than their counterpart artists of color. Major record labels had larger distribution chains, promotional budgets, and stronger connections to radio and television networks to advantage their artists. By contrast, black musicians on “race records” benefited from none of these privileges. While artists like Little Richard, Big Joe Turner, and Fats Domino have enjoyed staying power and wide acclaim for being architects of rock music, in the early decades of that genre, white covers were commercially more successful. Added to this was the exploitative nature of covers on larger labels that made more money than the originals while paying out no royalties to the black originators. Boone was unapologetic that his career benefited from this exploitation.

It is also noteworthy that Boone’s performance and lyricism of some of rock’s first generation of are a case study in the sanitized tastes of the burgeoning white middle class in the 1950s. His smooth vocal delivery was reminiscent of crooners rather than the raspy, full-throated yowl of Little Richard. And the lyrical changes on “Tutti Frutti” were a nod to teenage infatuation stripped of any of the sexuality in Little Richard’s original.

Despite Boone representing the residuals of white privilege while Jim Crow reigned supreme, there is a note of appreciation to be made for Boone and contemporaries Elvis Presley and Bill Haley in helping to extend the reach of rock music to new audiences at a critical juncture in that genre’s history.
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Nov 222010
 

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


When Ozzy Osbourne released “Crazy Train” in 1980 he sent a message to the rock music world. No longer did he need ’70s metal juggernauts Black Sabbath behind him. He could make music his own way, unencumbered by the democratic process of a group with which he had ceased to see eye-to-eye. If people thought he was foolish to leave Sabbath behind, they soon learned otherwise; “Crazy Train” quickly made itself a hit on the Billboard charts and has since become one of heavy metal’s signature songs.

It’s no surprise, then, that scads of metal singers and bar bands have paid tribute to this ’80s classic. However, at Cover Me we strive to find takes on popular songs that are a little more off-the-beaten-path. With that in mind, here are five versions of “Crazy Train” that rock’s Prince of Darkness might not have anticipated. Continue reading »