Cover vs. Cover - "You're No Good"

Female soul singers from the 1960s are one of my touchstones for cool.  My definition of cool as it relates to music & demeanor evolves over the years, but some people have cemented themselves in my mind for cool.  Keith Richards is cool.  Aretha Franklin is cool.  Charlie Watt is cool.

This search for cool has led me down the path of trying to discover more and more 1960s/70s rock and soul that was a bit below the radar but is as cool as the Stones and Aretha and Marvin Gaye and the list goes on...

Which leads me to the song "You're No Good" penned by composer Clint Ballard, Jr., who also wrote the 1965 hit "Game of Love" by Wayne Fontana and the Mindbenders.

I came to this song via the Linda Ronstadt version released in 1974 on her 'Heart Like A Wheel' record.

It was all over the radio in the mid to late 70's and an eventual crush ensued once I saw Ronstadt on T.V as a young kid. This song is burned into my head from the formative years and I went into the 21st Century thinking Ronstadt was the sole purveyor of this nice piece of 1970s soft rock (people called it country back then).  This was arguably THE song that made Ronstadt famous.

Anyhow, after some Pandora-related happenstance, I came across the Dee Dee Warwick version (you guessed it, sister of Dionne Warwick of Solid Gold fame).  This version just goes to show what a talent Warwick was...enough foreshadowing on the winner?

Dee Dee Warwick

Through some searching, I found "You're No Good" was also recorded by Betty Everett (you know, singer of "The Shoop Shoop Song").

Betty Everett

The Brits jumped on board with the Swinging Blue Jeans version of the song. 

                                                   The Swinging Blue Jeans

I was able to find two other renditions, but will not discuss them here.  Elvis Costello recorded it too as a B-side to "Veronica", but I can't find a free version of that one online.  Van Halen also recorded it as the lead track on their 1979 album Van Halen II.  Van Halen has some good songs, but they have embarrassed me more than anything over the years, so I'm not going to discuss their version, and it doesn't really come close to the other versions.  Here's exhibit A on why they embarrass me:

enough said

Anyhow, I guess I always thought Ronstadt's version was the original and all other arrangements were covers.  Not so, but with this many versions of the song out there, it seems like an interesting song to dissect based on these drastically different versions.

Let's start with the chronology. It's probably safe to say that most people know "You're No Good" only as a Linda Ronstadt song.  But, it was first recorded by Warwick in 1962.  Then came the 1963 arrangement sung by Betty Everett. A few days later the Swinging Blue Jeans dropped their version on the wax.  Van Halen macho-ed it up in 1979 and then Elvis Costello's released his version in 1989.

I prefer the song the song from the female perspective.

Both Everett and the Swinging Blue Jeans feel like the least inspired both musically and vocals wise.  

I rank the Swinging Blue Jeans last, followed by Everett, because the horns and piano in that version are more interesting than the Merseybeat boilerplate version.

Listen to both versions here:

The Swinging Blue Jeans "You're No Good"

Betty Everett "You're No Good"

With those two out of the way, we are down to brass tacks.  Rondstadt and Warwick delivered the two best version of the song, so they must go head to head.

Ronstadt's version starts off with a weird 70's electric piano groove and an even weirder guitar parts that start in at 1:23...long solos of varying styles and sounds.  It is a great take on the song and one I still love to this day.  I love the guitar solo, but the jam is kind of weird and long and almost overshadows the lyrics and Ronstadt's voice.

Listen to her version here:

Linda Ronstadt "You're No Good"

The studio musician vibe in this version is both a strength and weakness.  A bit too polished maybe for Ronstadt's strong voice.  And there is no anger or edge in her voice that would say f-you or I don't need you, bum.  It's prettier, but still with enough gut to make it work.

And then you have the Dee Dee Warwick version...son of a...this is a top ten female soul song of all time.  Brash and full of fuck-you-thens...this woman was in charge and you my friend are no good and she'll make you feel that you missed the boat.  Regret, son.  Regret.  You pissed Dee Dee off because you're no good and she's moved on and is making raucous music with her friends.  You lose, she wins.

The outrageous "Hey Ho's" and "Ah, Ah's" that are off kilter and straight outta church are as fierce as the lead vocals.  The Latin percussion sound seems straight outta Cuba and is crazy off beat.  Wait, it gets better, the gritty guitar solo at 1:19 with the sexy ah, ah ah's...I'm done.  The guitar is mean as she is.

This is the hands down winner.  Dee Dee Warwick will always own "You're No Good", she made one of the best American soul songs ever and takes the cake.

Listen to what Dee Dee did:

The Beatles White Album...30 Songs...13 Too Many

Let's start by saying the Beatles are among, if not THE greatest rock band of all time.  I concur...but, that's my qualifier.  It almost feels dangerous to criticize the Beatles. You are at minimum treading on thin ice if you criticize the Beatles and expect to be taken seriously amongst real music lovers.  Well, I'll admit it, I love the ice.

I have a workmate who said the Beatles are the most overrated band of all time. I fought him in my youth.  I mean, it sounds like fighting words, but it is probably true if you give it some thought. No band got more attention...much deserved, some consequential, some outside of their control.  They are overrated though, they are a rock band...but they made some of the best art of the 20th Century.  It is bold to diss them or not be fully in line with conventional wisdom and opinion that they are beyond criticism. Whenever I see my workmate to this day, I respect him. And we talk on honest levels. Challenging the Beatles can change a man.

Criticizing the Beatles gets personal quick. My wife with the Beatles, me with the Stones...we've fought.  We love and overcome, but I'm conscious of my words in this post.  And she will have had proofread them prior to publishing. It's for the best.

So the Beatles made 20 proper records, per my count.  Of them, Rubber Soul and Revolver are nearly perfect top to bottom and are hands down my top two favorites.  But what is number three?  It get's hazy.

Sgt. Pepper and the White Album are inconsistent and a bit overrated in my humble opinion. Magical Mystery Tour on the other hand is underrated but short...doesn't quite feel like an LP.  Let It Be and Abbey Road rarely make it to my turntable these days.  But man, when the Beatles are on, they are on.  The most influential and inspiring band of all time.  Of all the other albums the White Album has my favorite songs...one's I would put on a mixed tape for a new comer.  But, there are also so many skip over songs are straight up bad songs tainting the overall mix.

The White Album, released on the heels of Sgt. Pepperis so hit and miss and can be frustrating to listen to as a whole. I mean what do you do after the academia and intellegencia and even the hoi polloi credit you with your best work (Sgt. Pepper).  Ego's are bursting, right? Double album time...

The Y chromosome usually dictates that when you're at the top, you must fall, right?  It's happened to many a band.

The Beatles put out Sgt. Pepper in 1967, then Magical Mystery Tour (weirder/better in 1967), and then followed up with The White Album in 1968.  Weird American times, weird British record...

The timing and importance of this record are undeniable, and this would have been at the top of my list of best Beatles records had it been pared down from 30 to 17 songs.  It would be easily my third favorite.

The Beatles were at their peak of coolness right around 1968 and as my wife claims, their sexiest.

Here's my attempt at taking this hard listen as a whole down to an essential, punch after punch of essential rock.

Let's face it, The White Album is too fucking long.

Here's my song by song case at making The White Album up there with Revolver and Rubber Soul:

1. Back in the U.S.S.R. - not just a tribute to American pop and rock music, the driving piano and guitar fills are joyous and Paul's intonation is more determined than trite.  I say keep it.

2. Dear Prudence - John's voice is a goddamn gift, a blessing, my favorite singer at times, and this is THAT voice that gets me, an amazing bass line and drums crisp and impeccably recorded.  Weird "look around, round, round" backing vocals around 1:48 are haunting and weird...the guitar fills in the verse at 2:13 are a perfect blast of Beatles greatness.  The ending is uproarious and fades to the acoustic part...brilliant.  Essential Beatles song, it stays.

3. Glass Onion - percussion, John's voice, weird vocals harkening to their other songs...the Walrus is Paul part...this is a solid track, it stays.

4. Ob-La-Di, Ob-La-Da - the bass line, the crisp drums, the backing vocal work by John can't overcome the schlock harbinger of Silly Love Songs-esque McCartney on the horizon. I can't take this song seriously. I'm not into silly songs...but my kids love em, proving the Beatles are for everyone, just not something that aged well.  The baby boomer over-nostalgia link to this song as a Gen X'er sours me as well.  It's off.

5. Honey Pie - no

6. The Continuing Story of Bungalow Bill - I'm on the fence, John was at the top of his game with songwriting and vocals, but this is boring and not up to the level of Dear Prudence and others on this album. Not enough of a standout track and the Yoko parts can be grating. If this is to be in my top three Beatles albums, this one has to get cut. Sorry.

7. My Guitar Gently Weeps - here's where I'm going to lose some people.  I love George songs, but this one is a telling of things to come like Eric Clapton guitar epics a la Layla that are so overbloated and arrogant and exemplary of the bad-1970's.  George's buttery voice and guitar work together well, but just the title alone is too much...the lyrics don't hold up to the other songs on this record.  The ending is Jam-band-y and Skynnerd-y, it's gotta go.  I see people cringing and hating on me...but, sometimes tough love is a bitch.  I just don't like this song.

8. Happiness is a Warm Gun - that screeching guitar, the stoned drum fills, the lyrics are biting and the solo at 0:45 is one of the most essential of the whole band's cannon.  Haunting and essential. "When I hold you in my arms and I feel my finger on your trigger..."

9. Martha My Dear - the Kinks version of British life resonates so much stronger than the Paul version...this is a great Wings song and middle of the road Beatles song. This one gets cut.

10. I'm So Tired - brilliant in every single goddamn note. Driving chug...leading up to "I'd give you everything I've got for a little peace of mind".  Everything I like about rock is represented in this song.

11. Blackbird - the sensitive guy will play this song at guitar center...the campfire has heard this one, but this always felt like a raucous, borderline in-shambles, crazy rock record and this one is a fast forward moment.  Great song, just not here, not now.

12. Piggies - Sorry George, this isn't personal.  The social commentary is bold and perfectly biting...this plays in my head often when I'm paying parking tickets and red light camera bills.  The strings are cool...maybe a bit too.  It's off.

13. Rocky Raccoon - I have a specific bad high school memory that frames my experience with this one.  There was a fundraiser where you could donate a dollar and place a vote for a song of your choosing that they would play in the school cafeteria for a week at lunch. Some smart ass rich kids got $20's from mom and dad and stacked the votebox and I had to listen to this castrated song when me and my small group wanted to bring some heat to the snack bar.  Lame-o song.  If I'd gotten my way, digging pennies out of couch cusions, Belleville Township High School West would have been treated to no less than 20 minutes and 34 seconds of Rush's 2112 for one week proper...mullets a-sway.  It's off,

14. Don't Pass Me By - my favorite Ringo song, it stays. And, that pipe-y sound is a piano recorded through a Leslie 147 speaker.

15. Why Don't We Do It In The Road - Paul has his Helter Skelter voice on, and that can be a good thing.  It's great on that song, not on this song...let's cut it.

16. I Will - Wings on the horizon, it takes more than this to be on a Beatles top five record.  This one has to go...even though it is soft and warm and melodically perfect.  Doesn't feel like a rock song...quiet songs can be rock songs...see next one.

17. Julia - This is how a quiet rock song can be perfect. John's multi-tracked vocals are hypnotic...sings like a lullaby to little ones.  Donovan, one of my favorite British musicians that didn't get enough respect from Bob Dylan, showed Lennon how to pick in this style.  Keeper.

18. Birthday - this seems like a Paul vs. John record in many ways...the push and pull between Paul's pop and John's creative side...but this mess of a song rocks like a Midwestern American Rock or Soul song.  It's so overplayed it's hard to listen to it without thinking of T.V. commercials...but it rocks.  It stays.

19. Yer Blues - John's voice is desperate.  The Beatles "If I ain't dead already, girl you know the reason why." "I feel so suicidal, even hate my rock-n-roll."  Sheesh, this is so American blues inspired, yet filtered through the most creative musicians of their time.  Guitar solos and effects and fun...great drum fills.  Ringo was so great.  A must keep.

20. Mother Nature's Son - Again, just like Rocky Raccoon and Martha My Dear.  Same song style. Great Wings songs. The melodies and vocals are top shelf, just not greatest Beatles record material.  After much deliberation and some good ole back and forth with my better half, this one stays by a nose representing this side of Paul.

21. Everybody's Got Something To Hide Except For Me and My Monkey - The greatest Beatles rock song, hands down...I'll take all arguments to the contrary. The percussion, vocals, guitars, pace are definitive of what defines "rock" to me.  This is the most outrageous, mess of barely off the tracks rock...from note one on.  SUCH A JOY!!!!!!!!  My record is all scratched up due to late nite/early morning fumbled drops of needle.  A drunken, unabashed blast of fun and mess. Tick tick, tick tick snare.  Top 10 song of all time.

22. Sexy Sadie - calico cats were named after this song (I miss that crabby fat cat), the wah-wah backing parts, the falsetto.  It's a keeper slow number...the world needs a break after hearing the previous track, you can't stay that high for long.  This is the perfect comedown from My Monkey. John's voice is what defines this record.

23. Helter Skelter - reading the book of the same name about Charles Manson and all that California weirdness as a little kid in the 1970's helped frame the creepiness and early thoughts of how rock lyrics can move people...this is a tough, awesome rock song.  Turn the Targa cassette player up to 11 and blow some Auto Zone speakers out in the $800 car...a rocker.

24. Long, Long, Long - This is my favorite George song of all time.  When people talk about psychedelia in the 60's, this is what I consider an example of the good that came outta that. Less self-indulgent and boorish than all the druggy hippie crap, this is sweet, giving, melodic, droning and stunningly beautiful...the drum fills are epic! That weird organ from Paul.  This song makes me get sentimental every damn time, in an embarrassing way, glad it's not played on Muzak at Schnucks.  There'd be a pathetic weepy dude in aisle 12...this is what rock music is and always can be.  Goddamn.

25. Revolution-rock speed or what, the song sounds stoned.  Unbelievable, not even Nike commercials could take this down. Keep for sure.

26. Honey Pie- unacceptable.  If your Anglo-Jones is this pulsing, go listen to the Kinks who killed these guys with Britishness. Schmaltz. The Village Green Preservation Society is better in everyway.  No.

27. Savoy Truffle-Sweet Jesus, George, best munchie song in history.  Organs? Brass? Hell yes, sweet groove and vocals, guitar squeaks and squeels...sweetness.  Among the best rock songs ever.

28. Cry Baby Cry-how do you come down after that slap and binge of Savoy Truffle?  Well, I guess this.  Messy break. Beatles brillance?  This is one I use in my argument.  Sexy, weird, crispy rhythm, women love this song.  I do too and everyone is right.

29. #9- not my speed, but people much smarter than me like this and see it as a must.  Fast forward, or raise the needle, this thing is over.

30. Good Night- well I guess there's a thud on the ending, then.  Is this what happens when everyone leaves and George Martin and Paul McCartney plot the future and realize how great they are?  What's next?  Let It Be I guess.

Okay, I've just trimmed this down to my 3rd favorite Beatles record...I'm not so arrogant as to rearrange the order ;)

1. Back in the U.S.S.R.
2. Dear Prudence
3. Glass Onion
4. Happiness is a Warm Gun
5. I'm So Tired
6. Don't Pass Me By
7. Julia
8. Birthday
9. Yer Blues
10. Mother Nature's Son
11. Everybody's Got Somthing to Hide Except Me and My Monkey
12. Sexy Sadie
13. Helter Skelter
14. Long, Long, Long
15. Revolution
16. Savoy Truffle
17. Cry Baby Cry

The White Album is now the third best from top to bottom.  But the Stones were better...(running from wife).

2014 Music Moments - Tweedy

I know it's 2015 but I'm still looking back at my lasting music memories of 2014 and the song "Low Key" by Jeff Tweedy on the album Sukierae was another lasting pleasure for me.

The story behind this song and project in general is personally compelling on several levels.

First Tweedy is from my hometown of Bellelville, Illinois, and for that I'll always be proud of the Uncle Tupelo/Wilco/etc musician who made it big...I've been watching Tweedy develop since the late 1980's and it's been fun and I'm proud of anyone who can come out of Belleville and make it big (Jimmy Connors, Buddy Ebsen, Jay Farrar, Bob Heil of the Heil talk box fame, etc).  Secondly, we're of the same generation and that goes a long way when it comes to relating to a musicians place and experience and influences.  Third, I have a couple boys who are aspiring drummers...which leads me to the most compelling part of this song:  Tweedy's 18 year old son, Spencer, is a drummer and they recorded this together with Dad on guitar and vocals and Spencer on drums...how sweet is that?  The kicker is, the drums sound incredible...and when the blend with the great guitar fills, back up singers and Tweedy's airy "ahhh, ahhh's"...it just makes for a great, accessible, fun song.

To just hang out with one of your kids when they are 18 and be able to be goofy and creative while also making a record that is timelessly fun and straight up great.  What a document to look back on...what a way to be dad/son...I love that.

When I say goofy, watch the official video to see what I mean:

To be at the point in your career where you can pretty much do whatever you want and have it be received and available to such a wide audience is a feat.

This song came to me via an appearance on the Colbert Report back in September (the video is no longer available).  And the thing that really caught me was the incredible drumming.  That is my favorite part, it is fantastic and crisp and simple.  And of course, Tweedy is able to surround himself with really talented musicians and the guitars and backing vocals are top shelf.

In fact, I was smitten with the duo of back up singers...their look and sound is compelling.  You can see them in this video.  I know it's dangerous to comment on a person's look, esp. women, but the grey hair adds legitimacy, it's provocative...both age appropriate and empowering and I approve of this on all levels:

This is just a blast of fun and hasn't gotten old or stale like a pop record...Low Key is one of my favorite songs of 2014.

Cover Songs - Entry #1

This is my first entry in a series related to cover songs, with the theme of comparing versions of songs by multiple artists.  The concept can be original vs. cover. cover vs. cover, etc.

This initial debate pits Louisiana Bluesman Robert Pete Williams against avant garde outfit Captain Beefhart and the Black Keys from Akron, Ohio.

Robert Pete Williams

Captain Beefhart

The Black Keys

The song is "Grown So Ugly" or "I've Grown So Ugly" per the original.  The song was written and recorded by Robert Pete Williams, who was born in 1914 in Zachary, Louisiana and was discovered while in jail for a murder he committed in 1956.  The following version of the song is a recording from 1960:

Williams died in 1980 and is a fairly well-known Baton Rouge-area musician.

The song was covered by Captain Beefhart on their 1967 debut record Safe As Milk.

Captain Beefhart "Grown So Ugly"

The Black Keys then covered the song on their third album Rubber Factory in 2004.

The Black Keys "Grown So Ugly"

I love each of these versions in their own way and love listening to them in chronological order. It is a perfect example of a respectful passing of the torch from generation to generation and keeping the song and American music in general alive and burning.

I came to this song via the Black Keys, so that was my first love.  I then starting researching the song and quickly downloaded the Captain Beefhart version and couldn't stop spinning that one and then I was on to the Williams original.  Each recorded version is a barn burner.

This is a tough challenge.  Which one is the strongest?  Well it's going to boil down to experience on this one.  And with that the Black Keys take the cake at the dance.

I am one who loves rock before blues.  I am one who likes distortion and loudness over acoustic music.  I love the simplicity and originality and focus on individual personality and style of blues musicians; but man, plugging in and turning it up to eleven is what excites me...and that's why rock arrangements nearly always rule when compared to blues.

Williams version is amazing playing and his vocals are as real as the blues can get...he apparently wrote this in prison.  But it's the fact that this is a solo performance and that it is classic blues vs. sped up rock that keeps it a bit on the boring side for me.  Still a magnificent piece of delta blues.

The Captain Beefhart version was arranged by a young Ry Cooder on guitar, This thing burns in a blast of energy. The guitar and drums weaving together, slightly off beat...letting the weirdo vocals run.  Captain Beefhart obviously got even stranger over the years, but this is the best of it all for me when it comes to this band. I love what rock musicians did with the blues.  Rolling Stones, Beatles, Led Zeppelin, they all studied the blues and took it to new levels and audiences.  Captain Beefhart elevated this song and made it strange and fresh.

Then you have the Black Keys... dirty, powerful...drums pounding and gritty tubes ablaze.  The quiet/loud dynamic is the thing that draws me to this band and the buildup from 1:40 to 1:55 of the song is a wall punching, factory chugging blast of fun. This is simply a fierce performance.  Midwestern and mean, dirty and gritty, beaten and beautiful.  This is what St. Louis sounds like to me.

Get close to the fire and burn the Black Keys "Grown So Ugly" at volume eleven.  Nothing is more powerful.

This one goes to the Black Keys.  Congrats Akron, Ohio.

(this is Robert Pete Williams best selling song on iTunes...guess why)

2014 Music Moments - Angel Olsen

When you look in the mirror and see majority grey in the beard, it's easy to think you've heard it all and things are stale.

But then the current times just hit you and keep things interesting like a good date night without kids. Angel Olsen's third (but 1st I've heard) album "Burn Your Fire for No Witness", released in February, 2014 on Jagjaguar Records is my top record of the year.

This album builds and builds and builds. Listening to the lead track "Unfucktheworld" is an immediate attention grabber of Middle-American music at its best. Then track two cements this as the top shelf record of the year with a tremendously strong build up of fun and strength and drums and fuzzy guitar from sadness and forgiveness, always strong...this track burns!

"I don't know anything"
"I don't know anything"
"But I love you. Yes I do.  Yes I do."

Read it, yeah; think it, yeah; but you gotta listen to Olsen's delivery of that verse.  Her control of subtle and grand things at once are in play here, nailing them both.  It's hard not to get hooked by track two but the knockout punch comes at track three.

"Hi-Five" is the best piece of Twin Peaks-like weirdness and bending I've heard in years.  I was floored.  Really. Sometimes a song sums up everything about 20th/21st Century living in Midwestern America and comes on strong and new. In this case, imagine Wanda Jackson, Patsy Cline, Cat Power, Hank Williams, Roy Orbison, Gene Vincent blending in a whole new and exciting way, recorded without trickery...straight up country folk blues...with rock and guts.  Perfect bass and drums, vibrating, buzzing guitar...ugh...smitten.

I am spinning this over and over and over. I never would have heard this had it not been for Olsen's performance on Letterman in June, 2014.  I was not familiar with her until then, but I found out she's from St. Louis (I've got to follow up on that as this just doesn't compute).  Webster Groves, U-city maybe, but St. Louis?  If I'm wrong on my hunch, I'll eat crow slingers with onions and Provel on top.  I hope to get an honest assessment of that claim very soon.

Update:  January 13, 2015.  Olsen is indeed from the City of St. Louis as confirmed by her PR.

This is the most complete record I've heard in 2014.  Ups and downs and songwriting and fun and rock and sad and real and sorry.  Every song is strong.

Check this out for ragin' full on video of my favorite track off the record, Hi-Five:

Think the vocals in that production needed Macbook trickery?  Think again. Olsen knocked it out live on Letterman, a moment that to me transcends the album's recording.

Unbelievable performance.

Throughout the record, the drums are inventive and fun and fill-laden, the bass is determined.  But the vocals and melodies are so damn strong and true...what if Mazzie Star had an upper cut?  Subversive or mainstream, it hits on all angles.  If this were on every jukebox in the Midwest, I'd still drop quarters and select it noon or midnight.  I know one thing, if I see someone with an Angel Olsen shirt on, I'm going to introduce myself, hug/shake hands, see eye-to-eye and hopefully be friends for a long time.

I can't think of a record getting better in the near future, but I've been saying that for years.