Tom McDonald

I grew up and got schooled in New England, hitch-hiked on a whim to pre-Grunge-era Seattle, never left. Took to designing software for authors and publishers. Raised two kids and quite a few chickens on a island in Puget Sound. Taught myself guitar and banjo and formed a covers band. I help run a map store; here’s an issue of our newsletter. I favor British tv comedies and novels by Cormac McCarthy.

Good, Better, Best: “Bird Song” (Grateful Dead)

 Posted by at 11:11 am  2 Responses »
Nov 112022
 

Some covers are more equal than others. Good, Better, Best looks at three covers and decides who takes home the gold, the silver, and the bronze.

Whatever you think or don’t think of the Grateful Dead, we have to credit the songwriting team of Jerry Garcia and lyricist Robert Hunter for turning out some indelible classics. As long as there are acoustic guitars to strum and humans to sing, “Ripple” will ring out, and “Friend of the Devil” too. These songs have osmosed into the folk tradition that gave rise to them.

I’m not going to make the same claim of timelessness for “Bird Song,” Garcia and Hunter’s elegy to their friend Janis Joplin. Its greatness is of a different kind. But as far as elegies go, it has very few peers and is worth attention.
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Good, Better, Best: “Love is a Battlefield” (Pat Benatar)

 Posted by at 10:30 am  No Responses »
Oct 312022
 

Some covers are more equal than others. Good, Better, Best looks at three covers and decides who takes home the gold, the silver, and the bronze.

For someone who exuded so much snarl and toughness (“Hit Me with Your Best Shot”), you’d think Pat Benatar’s model was Joan Jett, say, or Suzi Quatro. Actually, it was hearing Liza Minnelli that inspired Benatar to give up her day job and give the music business her best shot. And a pretty impressive shot it was: Benatar enters the Rock & Roll Hall of Fame this week.

Her timing was as striking as her voice. The singer’s rise coincided perfectly with the era of MTV. In fact, Benatar’s “You Better Run” was the first video by a solo artist that the channel ever played. True, she was well on her way to fame and fortune with her pre-MTV releases–she was already a radio star, in other words. But Benatar had the physicality, the charisma, and the work ethic to take full advantage of the new format.

We are looking at “Love is a Battlefield,” one of the singer’s best sellers. Unlike “Hit Me with Your Best Shot,” her very best seller, Benatar is still willing to sing “Battlefield” today. The song also represents a pivot away from her early hard rock sound towards softer and more atmospheric material. In the ’90s she would shift gears again, to a blues and R’n’B focus.

While Benatar wrote some of her own hits, “Battlefield” wasn’t one of them. Holly Knight and Mike Chapman get the writing credit. Knight wrote another of Benatar’s hits, “Invincible,” as well as great material for Tina Turner, Bonnie Tyler, and others. Chapman, for his part, is famous mostly as a producer, most notably on the “Chinnichap” recordings of the ’70s and the breakthrough Blondie records. He also produced Benatar’s first album and at least one of her later recordings.

“Battlefield” may not be Benatar’s most popular song, but it’s by far the most covered song in her catalog. We found a few versions that standout from the field. Of these…
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Full Albums: The Beatles’ ‘A Hard Day’s Night’

 Posted by at 12:30 pm  1 Response »
Oct 142022
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Hard Day's Night covers

After watching all eight hours of Peter Jackson’s Get Back documentary, and another three hours of interviews with Jackson about the making of Get Back I had to put on A Hard Day’s Night to restore balance. I had to get back to a time when John Lennon was firing on all creative cylinders and Paul McCartney was slacking.

In early-to-mid 1964, Lennon was engaged, prolific, and self-confident enough that the Beatles finally released a full album with all original material: AHDN. No covers! All 13 tracks are Lennon–McCartney compositions, officially, but 10 of them are really Lennon’s. And they are all good to really good Lennon songs, too, except for the ones that are great, like “If I Fell” and the title track.

If McCartney’s contributions were few in number, two of them loom large in the catalog: “Can’t Buy Me Love” became the album’s first #1 single, while his ballad “And I Love Her” stands with McCartney’s best songs of any period. Mostly, though, Paul was not quite finding his stride in ‘64, much like John in the Get Back period.
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Good, Better, Best: Willie O’ Winsbury (Traditional)

 Posted by at 10:00 am  6 Responses »
Aug 032022
 

Some covers are more equal than others. Good, Better, Best looks at three covers and decides who takes home the gold, the silver, and the bronze.

“Willie O’ Winsbury” is all about gender-fluidity, and it’s about the rejection of all things patriarchal. But it didn’t come out of some woke college campus; it’s a Scottish ballad that goes back to 1775, if not earlier. Some argue that the events it describes took place in the 13th century.

For those keeping score, “Willie O’ Winsbury” is Child Ballad #100. The Child ballads were not for children: the name comes from FC Child, the 19th century song-catcher who compiled hundreds of English and Scottish ballads from past centuries.

Even in the most modernized version of the song, its old-fashioned language isn’t easy to parse. You can listen carefully (like I did) and still miss the juicier implications and its revolutionary flavor (like I did, until I heard Scottish comedian Stewart Lee discuss it). Normally it’s best to let lyrics speak for themselves, but in this case I will write some notes in the margins:

  • The first shocker is not that the king’s unmarried daughter Janet became pregnant when he was away, or that the king rather brutally inspected her body in court in order to confirm this. The shocker is that she slept with Willie, a peasant. In feudal Europe you didn’t do this.
  • The next surprise is not that the king decides to hang Willie, but that upon seeing the strapping young man brought before the court the king’s heart melts. He admits he’d sleep with this hottie, too, if he (the king) were a woman. This king is kinky enough to realize his daughter was doing the right and natural thing after all.
  • The king invites Willie to marry his daughter and offers to make him a lord of the land. A pretty sweet deal, especially for someone being fitted for a noose.
  • Plot twist: Willie declines the offer. Oh, he’ll marry the king’s daughter all right, but it’s purely out of love, and he rejects anything to do with the king’s wealth or power. That’s the implication, anyway. The couple rejects the social order for a natural order. (Either their heads are full of early Enlightenment philosophers like Voltaire and Rousseau, or they are too horny to think straight.)
  • When the couple gallops off into the sunset, the song’s narrator implies (in not so many words) that the couple have more wealth in the form of individual liberty than any knight or lord could claim.

Of course, all this is merely one reading of one version of a popular ballad. Variants of the song exist under various titles, with this verse or that inserted, deleted, or altered. In some versions, Willie is a man of wealth in peasant disguise.

So much for the story. The tune itself–the melody and chord progression–is also worth appreciating. How the chord sequence fails to resolve harmonically at any point, but circles back on itself like a staircase in an Escher print. It never seems to lose momentum. (Well, at least not in the arrangements I like.)

And speaking of arrangements I like…
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Under the Radar: The Michael Udelson Trio

 Posted by at 10:00 am  2 Responses »
Jul 272022
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

When it comes to instrumental covers of popular music, my go-to is the edgier jazz artists–you probably know the ones I mean. They are lovable troublemakers, but sometimes their jarring ways, all the virtuoso-signaling, is not what the mood calls for. More and more I appreciate instrumentalists who play the melody straight, who embrace the original arrangement of the song and work within its comforting confines.

The trick is that a more modest and direct approach can wash the color out of a song–it becomes the music you hear when the bank puts you on hold. A good cover has a proper edge to it: there’s embellishment and surprise in it, a searching quality, a point of view–all the things missing from the music that elevators listen to during their work hours. For me, the Michael Udelson Trio brings all the good aspects to their jazzy treatments, and leaves behind the undesirable bits.

The band has so far released two recordings, both of them cover albums: Irrational Numbers and Minor Infractions (2015 and 2016). (During the COVID lockdown period, the trio got together virtually to share some new material with fans–so maybe there’s more albums coming in the future.) This next part I find mystifying: these two albums and the songs on them have a vanishingly small number of views/plays. (Probably most of those plays are mine.) The trio’s most popular track on Spotify is their take on Radiohead’s “Paranoid Android.” It has 17,000 plays. For every other Udelson track, Spotify displays a blank instead a number in the “Plays” column–which why the phrase “vanishingly small” seems apt. It’s fair to ask how that 17,000 figure compares to any jazz piano version of “Paranoid Android.” Here’s a point of comparison: Brad Mehldau’s cover has nearly 5,000,000 plays.

Few seem to know or care about MUT–not even its own members, as we’ll see shortly. So who are these guys, and where their fans at?
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That’s a Cover?: “Drift Away” (Dobie Gray / John Henry Kurtz / Mike Berry)

 Posted by at 2:00 pm  3 Responses »
Jun 102022
 

That’s A Cover? explores cover songs that you may have thought were originals.

Comedian Marc Maron made a funny mistake on a recent episode of his “WTF” podcast. Two founders of the Doobie Brothers were his guests. Although Maron is fanatical about music and is a musician in his own right, his tone throughout the interview seemed to reveal that he finds the Doobie Brothers faintly ridiculous. (He’s more of an Iggy Pop and Patti Smith guy.) Sure, Maron could recall a few of the Doobies album titles, and he shared a memory of singing along with “Black Water” in a school bus at age 11, but every American of Maron’s generation remembers singing that song in a school bus.

After the interview, Maron improvised a medley of iconic Doobie Brothers moments. He sang some choruses he only partly remembered, and he vocally mimicked a few of the band’s signature guitar riffs. Partway through he sang “give me the beat boys, free my soul, I wanna get lost in your rock and roll and drift away,” an iconic ’70s line if ever there was one.

That’s the mistake that got me thinking about the song “Drift Away.” That’s the song Maron was remembering, but it’s one which the Doobie Brothers never recorded. Soul singer Dobie Gray recorded the hit in 1973.
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