Five Good Covers Archives

Five Good Covers: “The Bottle” (Gil Scott-Heron and Brian Jackson)

Posted by Mike Tobyn at 10:00 am 1 Response »

Sep 052023

In Search of Gil Scott-Heron is a fine new graphic novel about the life of a great artist. Or more accurately, as with the movies Round Midnight or Searching For Sugarman, it is as much about the life of a fan as the life of a special artist. French documentary maker Thomas Mauceri documents how he fell in love with the politics and music of the Godfather of Rap (a term Scott-Heron was not that keen on) during an academic stay in the United States. As a fan, he had experiences and met new people that he could not have done otherwise. The novel is beautifully drawn by Seb Piquet and the lettering for the English edition is expertly done by Lauren Bowes. In addition to the recollections of Mauceri, the book is interspersed with biography and observations about Gil Scott-Heron and his life as a pioneer and leader, and the less celebratory parts of his life. Much of the book is set around the time of the artist’s death in 2011. For those who saw him on his final tour, completed not long before his death, it is very poignant. We could see the fire and the talent, but also the losses that Scott-Heron heavily bore. His final album I’m New Here is a testament to that loss.

Even for a fan, there is new information in there. One key observation is that, at the time of his death, Scott-Heron had a small, well-maintained apartment in New York City. Given the chaos of his addictions and spells of imprisonment, this was a surprise. His friends note that the royalties from Scott-Heron and Brian Jackson’s hit song “The Bottle” gave him a steady income throughout the last 30 years of his life. Included on the 1974 album Winter in America, it is Jackson and Scott-Heron’s best-remembered hit, although “The Revolution Will Not Be Televised” might be the most influential.

A dancefloor-filling hit song about crippling, chronic addition, “The Bottle” is a beautiful, contradictory creation. It has upbeat Caribbean rhythms wrapped Scott-Heron’s mellifluous voice. Brian Jackson brings a beautiful flute to the whole piece, infusing it with light and air, along with his other instrumental parts. The stories within it are dark but the music is light. Scott-Heron’s stories of the addicted are garnered from discussions with the visitors to a liquor store near Washington DC. We can imagine why he was there.

The song has been covered many times throughout the years by artists trying to capture the different themes. Here are five that capture the messages in a novel way.
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Five Good Covers: “Barbie Girl” (Aqua)

Posted by Sara Stoudt at 10:30 am 1 Response »

Jul 212023

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

With the new Barbie movie coming out this weekend, it is the perfect time to revisit Aqua’s classic number one hit that reached that top spot in multiple countries across the globe. Nicki Minaj and Ice Spice have even contributed a version of the song for the soundtrack. It’s not so much a cover as a rap over “Barbie Girl” played in the background, but it’s still a great throwback with a new twist.

The new movie has brought up some capital-D discourse about Barbie. Is it feminist? Is it anti-feminist? Does Greta Gerwig at the helm make us more or less nervous about the outcome? Either way, as the trailer advertises: “If you love Barbie. If you hate Barbie. This movie is for you.” The movie has a star-studded cast, with Margot Robbie as Barbie and Ryan Gosling as Ken at the helm (since this is a music blog after all, Dua Lipa plays Mermaid Barbie).

As I was getting my head into Barbie World, compiling covers of this song, I realized that I was definitely listening to a clean version as a kid. I was used to hearing “I’m a blonde, single girl,” not “I’m a blonde, bimbo girl.” Maybe my Barbie memories have more of a girl power tinge than Aqua’s. I guess this version means that Ken hasn’t yet fully convinced Barbie of his charms. Mattel, Barbie’s manufacturer, actually sued Aqua because of this “bimbo”-induced disrespect of their trademark. The court ruled in favor of the band with potentially the best closing statement of a ruling ever: “The parties are advised to chill.” I can’t make this up. Just think, without this ruling we might not have this song to rediscover in this moment.

No matter what your Barbie vibe is, there is a cover of “Barbie Girl” for you.

Five Good Covers: “Trains and Boats and Planes” (Burt Bacharach)

Posted by Patrick Robbins at 11:00 am 2 Responses »

Jun 162023

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

Many if not most of Burt Bacharach’s big hits were first released by other artists, usually Dionne Warwick. One big exception was “Trains and Boats and Planes,” a tale of transcontinental love which Bacharach thought was “too country” for Warwick; Bacharach and his writing partner Hal David had written the song for Gene Pitney to sing. Pitney, however, had other ideas; he rejected it and told Bacharach, “It’s not one of your better ones.”

Never one to sulk when insult was added to injury, Bacharach went to London and recorded the song with an orchestra. No lead vocalist, Bacharach assigned the lyrics to the Breakaways, a girl group who also sang backing vocals on Petula Clark’s “Downtown” and Jimi Hendrix’s “Hey Joe.” Their cool, detached voices suited the impassive song perfectly, but the bridge (“You are from another part of the world…”) proved to be too tricky, and Bacharach covered for them by making it an instrumental passage.

Today the song has earned its reputation as one of Bacharach’s better ones, Pitney notwithstanding. His version was a hit, and so was Warwick’s well-nigh-inevitable cover. The dozens of other covers that followed proved the song was strong enough to thrive under any approach, either with or without the bridge. Here are five of them.

Five Good Covers: “God Bless the Child” (Billie Holiday)

Posted by Patrick Robbins at 10:00 am No Responses »

Apr 072023

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

Today marks the 108th anniversary of Billie Holiday’s birth. Her significance as a singer needs no elaboration from me; her songs speak for themselves, just as they have spoken to the souls of millions. “Strange Fruit” is considered her signature work, but a good argument has been made that “God Bless the Child” is of equal significance, with the added fillip of a sense of hope.

Born from an argument over money Holiday had with her mother, the song still has the zest of anger lain across it. But it also shows the way out; hard work, it’s implied, will bear its own fruit, both material and spiritual. The hope may not be powerfully warm, nor even all that self-evident, but it’s there, and it can help to lift you out and up.

With more than five hundred covers produced and released over the years, it’s impossible to single out only five as being among the best. That’s why you’ll find six featured here, and believe me, it could have been sixty. We hope these half-dozen bring you all that Mama may have and Papa may have.

Five Good Covers: “‘Til I Gain Control Again” (Rodney Crowell/Emmylou Harris)

Posted by Seuras Og at 1:00 pm 4 Responses »

Mar 242023

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

If everything about Rodney Crowell were forgotten save for “‘Til I Gain Control Again,” he wouldn’t be forgotten at all. Which is a clumsy way of saying that this long-established writer, singer and performer, the author of a mighty, mighty tome of material, can sleep content in the knowledge that he has written at least one stone-cold classic.

Mind you, for the purposes of this piece, let’s not forget that the original iteration of this beauty came via the incomparable throat of Emmylou Harris. It made for the show-stopping side one closer on her second record, Elite Hotel. While she and Crowell have played a lot of shows together this century, as a double header, way back then he was just one of the hired hands in her incomparable Hot Band. Alongside the players couped from Elvis Presley’s TCB band, James Burton and Glen D. Hardin, Crowell was the fresh-faced rhythm guitarist who was hired to sing duets with Harris and write some songs. He delivered “Blueberry Wine” for her debut, sufficient reason to be kept on.

It is a relief that the Harris version is the de facto original. Not because Crowell can’t give it a decent going over (he can), but because, were it not, it would be a shoo-in for this selection. We are thus granted five full further versions, all of which cast a slightly different sheen on this quintessential country weepie.
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Five Good Covers: “Baby, Please Don’t Go”

Posted by Seuras Og at 12:00 pm 1 Response »

Feb 242023

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

What makes the original artist of a cover? Does it depend on which you heard first? Me, I doubt even I could pretend my initial exposure to “Baby Please Don’t Go” was the original I held dearest and first to my heart. I’ll go further: I bet, that for many, the first notes of “Baby Please Don’t Go” they ever heard came from the whip-thin guitar of Billy Harrison (unless the rumors are true and it was actually session veteran Jimmy Page). He was part of Belfast’s finest, Them, with none other than Mr. Grumpyguts himself, Van Morrison, in moodily magnificent vocal form even then.

But no, Them’s take wasn’t the original, that being the domain of good old trad. arr., responsible for any number of ancient ditties that have transformed and transmogrified over the ages, across oceans and genres. But for the purposes of this piece, Them’s take is my original, even if their version was drawn from the twin wells of Big Joe Williams, the first recorded iteration, in 1935, and John Lee Hooker‘s 1949 version, which lopped the “please” off the title.
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