That’s A Cover? explores cover songs that you may have thought were originals.
In November 1979 there was evidence of a remarkable movement in British music. Top of the Pops, the pop music show watched by millions across the country, which had the ability to make or break careers, featured three songs from the 2 Tone record label. An independent collective of the bands The Specials and The Selecter, they had recently taken a decision to sign up Madness, who had similar musical influences. Although a major label marketed them, 2 Tone itself was a tiny, ramshackle outfit. Literally off-beat, as part of their Ska music. Yet here they all were on the UK’s flagship music show. They were on a show with Abba, Dr. Hook and Queen, and the finale was Donna Summer and Barbra Streisand doing “No More Tears.” The Specials and Madness dashed up to the studios from their joint tour to perform, although The Selecter could stay in Cardiff as their part could be reshown from their performance a few weeks before. The single that The Specials were promoting was 2 Tone’s “TT 5-A,” only the fourth single on the label (the first was a joint A-side which both got serial numbers). “A Message To You Rudy” has a clear message and a danceable tune, and is one of the most streamed and covered of The Specials canon. It is also a cover itself.
(Unfortunately, although people get a lot of pleasure from reruns of the series, that episode of Top of the Pops can no longer be shown on TV for reasons unrelated to British youth culture in 1979, so we don’t get the chance to officially relive the moment in its entirety).
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Nouvelle Vague is back with a new collection titled Should I Stay or Should I Go? I’m going to hesitate in answering that question, as there is the one more demanding, about how this lot are still going. No offense intended, mind; back in the day, Nouvelle Vague’s bossa nova revisiting of punk and new wave songs was really something to behold, with both the novelty and the application well worthy of praise and merit. But now? I know a version has been touring, but I hadn’t appreciated they were still marketing something new, or, more to the point, new to them. So, is this a soft sophisticated samba swirl through the song cycles of Eilish and Swift, Sheeran and whoever else the young people adore? Ummmm, nope. This is a further trawl through the hallowed dusty halls of the last century. Or, more to the point, hoping the audiences who loved them near two decades ago will still love them now, and are still listening to their tired old record collections.
I am uncertain how much traction the Specials had outside the UK, where they are rightly considered national treasures, riding a wave of energy since their most recent regrouping and reiteration. Now down to the core trio of Terry Hall on vocals, Lynval Golding on guitar and vocals, and Horace Panting on bass, here they are again aided and abetted by much the same cast who crewed 2019’s Encore, the touring of which had been rudely interrupted by Covid. Rather than sitting home and ruing, the band fired up their default setting of righteous indignation.
