Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
“She’s Gone” by Daryl Hall & John Oates was born old school. Even though the sign over the door of what was primarily known as “Soul” has long been replaced with the marginally more modern and wider sonic net of “R & B,” “She’s Gone” remains proud, righteous and straight up SOUL to its core. It’s an unabashed, beauteous love letter to the glorious Motown sounds that preceded it a decade before its creation, all harmony, hook, and heartache. It is forever immune from descriptive modernization.
John Oates’s explanation of the song’s genesis in his fine, funny 2017 memoir Change of Seasons was surprisingly comic, given the song’s theme of loss. It’s based on a very brief fling he’d had with a woman he’d encountered on an arctic night in an NYC diner at 3 a.m., who was wearing a pink tutu and cowboy boots (like you do). They dated for a few weeks until she vanished as quickly as she’d appeared, exerting the ultimate romantic gesture of cruelty by standing him up on New Year’s Eve. He says when he realized “she was going to be a no-show on that night of nights,” he thought, “If she’s not coming tonight… then she’s gone.” With that, a chorus was born. John shared the story and his melodic snippet with Daryl the next day, who then sat down at his black Wurtlizer and fleshed out the legendary intro and verses… and voila, “Everybody’s high on consolation,” forever and ever amen.
John knew the song was special. After they’d recorded it, he made this unbelievably prescient observation in his journal:
3/2/73, She’s Gone–I’m putting it down in writing. This is the one. I believe in this one.
