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|>>|| No. 8707
The Pet Shop Boys' Always On My Mind has been voted the top cover version of all time in a BBC Music vote.
The song, written by John Christopher, Mark James and Wayne Carson, was first made famous by Brenda Lee and Elvis Presley in 1972.
Johnny Cash's cover of Nine Inch Nails' Hurt came in second place, followed by The Stranglers' version of Dionne Warwick's Walk On By. Jimi Hendrix's take on Bob Dylan's All Along The Watchtower came fourth. Jeff Buckley's cover of Leonard Cohen's classic Hallelujah completed the top five.
Not keen on that version of Walk On By but I like the rest. I reckon I'd have to have a good think about my favourite covers and I'm sure I'd still forget some.
|>>|| No. 8708
> Johnny Cash's cover of Nine Inch Nails' Hurt came in second place
He butchered it!
|>>|| No. 8709
This is probably mine; unless Streetlight Manifesto's version of Keasbey Nights counts.
Yep. I have to agree. Everyone gets all teary-eyed and I just think it sounds whinier than the original, if that was even possible.
|>>|| No. 8711
I'm never keen on this sort of poll. Aggregating the musical taste of hundreds of people always leads to a sort of bland, middle-of-the-road list. I always preferred personal and opinionated best-of lists, like Peel's Festive Fifty.
Excluding trad songs and standards, I think this is my favourite cover version. The legendary Kevin Rowland, charting his total mental disintegration and recovery. He holds absolutely nothing back, and that's all you can ask for in a performance.
|>>|| No. 8712
Are they chanting what I think they're chanting at the start?
|>>|| No. 8715
Yes, they are indeed chanting "Leader!" Wait, what did you think they were chanting?
|>>|| No. 8726
I'm very much of the opinion that Trent Reznor has never written and performed a song someone couldn't have performed better.
All the covers of his songs, done by even the most mediocre of talents, have improved them.
He is probably in the top 10 best song writers in the world, and rightly so, but still.
|>>|| No. 8727
>All the covers of his songs, done by even the most mediocre of talents, have improved them.
Marilyn Manson has a similar effect on me; every time I hear one of his covers it makes me appreciate the original and want to listen to that instead.
Anyway, on track with covers I like:
|>>|| No. 8728
Now you've reminded me, Brett Domino's cover of "Beauty and a Beat" is bloody remarkable. The vocal harmonies in the chorus, the synth solos, they go far beyond mere parody.
|>>|| No. 8729
I find with Brett Domino they're all or nothing; when it works, like the Timberlake medley, their Jurassic Park song, We No Speak Americano or their recent videos about writing a hit pop song, then it really works but many of them aren't memorable.
Anyway, on topic:
|>>|| No. 8731
Her bowing is atrocious, but I wouldn't let that get in the way of a beautiful relationship with her bumhole.
|>>|| No. 8736
I'd do unspeakable things to her. My favourite Zelda-inspired music is Ocarina of Rhyme, especially Don't Touch Me.
|>>|| No. 8738
I quite like this cover by ARE SPOCK, his droll tones work well with the subject matter.
|>>|| No. 8819
I quite like the RATM covers:
Oh, and Sophie Ellis-Bextor's version of Yes Sir, I Can Boogie.
|>>|| No. 8820
I love this album. He's called David Minnick and he covers Negativland tracks in a doowop/R&B/gospel style using overdubbed acappelas.
|>>|| No. 8830
I prefer the Placebo version, I think that and I Feel You are the only songs on their covers album better than the original.
I quite like that.
|>>|| No. 8874
The Pet Shop Boys definitely had some good songs; 80s music would simply not be the same without them.
That said, "Always on My Mind" was always the one song by them that I thought was complete shit. They shouldn't have bothered.
|>>|| No. 8877
>That said, "Always on My Mind" was always the one song by them that I thought was complete shit.
Evidently the music-buying public of December 1987 disagreed with your assessment.
|>>|| No. 8878
>"Always on My Mind" was always the one song by them that I thought was complete shit.
Oh well. Horses for courses. I love it, personally.
|>>|| No. 8880
I've just always thought that it was too bland, too run-of-the-mill.
The Pet Shop Boys had some pretty brilliant and well-crafted songs in the mid to late 80s, such as It's A Sin, Opportunities, and a little later in 1990 songs like "So Hard". But their version of "Always on My Mind" just lacks any sort of distinction at all.
I know that in those days, Neil Tennant and Chris Lowe fancied themselves as great satirists; I remember they once said in a Melody Maker interview that their cover version of U2's "Where The Streets Have No Name" was done deliberately so as to prove that that song could be done without all the pomp and narcissism which U2 tended to display in their productions. And perhaps this explains why "Always On My Mind" was also a kind of bland, unspectacular adaptation of the original Elvis song.
Well, again, the Pet Shop Boys had some really really good numbers in the 80s and 90s... but this one will never be one of them to me.
|>>|| No. 8894
>Oh, and Sophie Ellis-Bextor's version of Yes Sir, I Can Boogie.
It might not be fashionable to like her and Lily Allen but I really appreciate the fact that they sing in their native accents rather than that terrible fake American accent that is virtually ubiquitous. One could argue that Allen "mockneys" it up but rather than the the usual if you ask me.
|>>|| No. 8901
>rather than that terrible fake American accent that is virtually ubiquitous.
yes, that is annoying. But if you aim at a global audience with your music, as many do, then you have to give them what they are most likely accustomed to, and that is a faux American accent, for better or (much) worse.
Even the Beatles didn't sing in their native Scouse accent, but some sort of mid-atlantic mishmash, if you could call it that.
|>>|| No. 8911
This cover gets so much hate thrown at it, but I actually like it as much as the original.
ah ah ah baby come come, don't be numb.
|>>|| No. 8912
The optimist in me also wants to believe that for some of them it's unconscious - they grow up singing along to American singers, or other British singers with the mid-atlantic singing style, and they drift that way without realising it.
Either way, it's another reason to love The Proclaimers...
|>>|| No. 8913
Or the Pogues. Don't forget the Pogues.
And New Model Army... remember New Model Army? They were from Yorkshire and you could definitely hear it.
|>>|| No. 8915
>The Pet Shop Boys' Always On My Mind has been voted the top cover version of all time in a BBC Music vote.
Unsurprising. They've only played it several times a week, every week, for the past 2 years, and had a few popmaster questions on it in recent months.
I'd be interested to see how the top 5 correlate with BBC airplay frequency over the past 12 months. Any easy way of finding out?
|>>|| No. 8916
I don't think it's a conscious thing at all, for the most part it's simply very difficult if not impossible to sing with a strong accent. Even most music from America tends to lean towards a more neutral accent rather than being noticeably American.
Accent mainly relates to rhythm and pitch of the voice, you can't really retain and accent whilst singing in more traditional styles.
When you notice singers with an accent, it's usually a different style of music, ones which are closer to spoken word than to singing.
Look at the Beatles, most of their songs don't have much of an accent in them, except yellow submarine. That song is closer to speech than singing, and the liverpool accents are much more noticeable.
You can even hear a change in accents in individual songs, in the pogues christmas song, the verse has a strong accent, you get to the "The boys of the NYPD choir Still singing 'Galway Bay'" in the chorus and the accent drops off.
The same thing happens in that new model army song, the yorkshire accents drop off a little when they begin to project their voices more in the chorus.
|>>|| No. 8917
>Even most music from America tends to lean towards a more neutral accent rather than being noticeably American.
>Look at the Beatles, most of their songs don't have much of an accent in them, except yellow submarine.
There is no such thing as a "neutral accent", and the Beatles sounded strongly Liverpudlian anyway.
|>>|| No. 8918
It's not entirely nonsense - the American accent lends itself to singing more due to the extended vowel sounds in the American accent.
|>>|| No. 8919
>The same thing happens in that new model army song, the yorkshire accents drop off a little when they begin to project their voices more in the chorus.
Counterexample: "The Downtown Lights" by The Blue Nile. Paul Buchanan's natural accent bursts through (to brilliant effect) as the song reaches a crescendo, as if the emotion of his words is too great to contain his natural voice.
I think it's mainly a matter of expectations. We're attuned to a particular transatlantic accent in pop music, to the extent that singing in your own accent is perceived as an affectation. Pop tends towards a universal, placeless aesthetic; Using a transatlantic accent allows your listener to paint the song with whatever background they care to imagine. In folk music, the opposite is true - localism is highly valued, so singing in anything other than your natural accent is seen as a betrayal of the core values of traditional music.
Melodic phrasing tends to neutralise any accent to some extent, but your accent naturally carries into your singing if you don't actively suppress it. I think Kate Rusby is a good example - she sings very melodically, but her Yorkshire accent is made clear in her vowel sounds.
I also suspect that there's an element of laziness that the transatlantic accent conceals. A lot of songwriters use quite generic, Hollywoodesque subjects and phrases that would sound slightly silly when sung in a regional accent. Adopting the persona of an international rockstar allows you to get away with all sorts of "ooh yeah baby" bullshit that only really works within the context of that pop fantasy.
|>>|| No. 8920
>The same thing happens in that new model army song, the yorkshire accents drop off a little when they begin to project their voices more in the chorus
It still does sound very "Yorkshire" though throughout.
I think many British punk/alternative/indie bands tend to sing more in their regional accent. It may have to do with their general attitude toward their own music as they kid themselves into believing that their music isn't as "commercial" as mainstream and adult-oriented rock.
Having said all that, here's indeed an example of a song where towards the chorus, their Scottish accent tapers off (this is one of my all-time-favourite folk songs):
|>>|| No. 9077
Probably the best thing Housewine ever did.
|>>|| No. 9078
She said it was her father's favourite song, which is why she used to do it. Rather sweet.
|>>|| No. 9079
I saw her do it at Old Trafford cricket ground. She had two blokes in proper rudeboy suits behind her skanking their brains out. It was probably one of the best things I've ever seen live.
|>>|| No. 9189
Go for it lad, I think .gs is about the right sort of audience for some of the daft shit I've done over the years, that I'm too shy to show the public otherwise.
|>>|| No. 9190
I think I will soon, I'm currently working on something so I'll get it up with that iykwim
Though if any of you lads want to start it before that then go for it.
|>>|| No. 9375
What about the title of that video is supposed to make me want to press play?
|>>|| No. 9376
Are you one of those lads who think every post is specifically aimed at them?
|>>|| No. 9378
He's looking well for 49. I'm not a bummer or owt, but he is a dishy fellow.
|>>|| No. 9397
Here's a cover of a Tom Waits song by an English folk duo. They normally don't play anything written in living memory, but decided to make an exception.
|>>|| No. 9416
please guide me to more tip-top manchester post-punk funk.
already given 23 skidoo and a certain ratio a listen but i need more
|>>|| No. 9480
I'm not really a fan of this type of cover, but I like this one.
|>>|| No. 9485
Seeing as we've gone a bit pop-punk, here's a few guilty pleasures of mine.
|>>|| No. 9486
Allister are the king of Pop-Punk covers:
They have an entire album of covers called Guilty Pleasures.
Another pop-punk cover I enjoy is:
|>>|| No. 9487
I can't work out whether I actually like this or not.
|>>|| No. 9779
Best Christmas song of recent years, which is probably damning it with faint praise.
|>>|| No. 10153
I haven't listened to Rilo Kiley in years, but I've now got this in my head.
|>>|| No. 10423
Nice to see Jack Off Jill get a mention. Still my favourite band. It was ace getting to see them on the mini reunion run; I never thought it wod happen.
|>>|| No. 10440
>>8819 i'd never heard the Sophie EB cover before. You've really spoiled my day now. She sounds like a right karaoke queen.
|>>|| No. 10917
(Starts at 28s)
It's nice how a language barrier can lead to an original sounding cover that still does it justice.
|>>|| No. 10918
Fucking hell, Jack Off Jill. Haven't thought of them in a decade or more.
|>>|| No. 10951
I must have done. >>10947's posting of Goldfinger reminded me of ska-punk in general, something I haven't really listened to since Streetlight's The Hand(s) that Thieve(s), about the same time.
|>>|| No. 11283
I don't think I'll ever tire of this. Haven't so far after almost six years.
|>>|| No. 11546
Weezer have just released a covers album. Unsurprisingly, it's largely shite.
|>>|| No. 11562
It's fucking boring, but it'll inevitably end up in a Christmas advert and she'll buy a house with the PRS money. Fair play to her, I wouldn't have the nerve.
|>>|| No. 11564
It's fucking tragic when a band covers something and does it beat for beat exactly the same as the original - what's the fucking point? Do it 'weezer style' or don't do it at all. As >>11563 highlights, at least RBF bothered to arrange the song to suit their own sound.
|>>|| No. 11576
Is there such a thing? I know they're generic, bland and inoffensive but if you take, say, Jimmy Eat World as another middle of the road American band then at least they've got a distinct sound.
|>>|| No. 11577
I think they do have a style, it's not too far away from generic, but I think if I played you a weezer song you hadn't heard you'd likely recognise it as them. They have a certain guitar style and the vocals are pretty distinct. Again, nothing groundbreaking, but the two combined is enough to give them a sound, I reckon.
I really don't want to give them too much credit, they're not very good. But you could definitely make your cover of Take on Me sound more Weezery than they did, just make your guitar rhythms more staccato and get the lad in the back to do some of the chorus with you.
Amusingly here's a lad doing a Weezer cover in a way that sounds more like Weezer than when Weezer actually recorded it.
|>>|| No. 11585
An old favourite from the days of mislabeled songs on Kazaa and Limewire.
|>>|| No. 11894
It would probably be quite easy to fill a whole thread just with Stevie songs.
Desi Young - Don't Know Why I Love You
|>>|| No. 11922
Sunday Girl - Self Control (Azari & III Remix)
|>>|| No. 11928
Adam Sky Vs Mark Stewart - We Are All Prostitutes
|>>|| No. 12222
>Marilyn Manson has a similar effect on me; every time I hear one of his covers it makes me appreciate the original and want to listen to that instead.
The madman's only gone and done it again.
|>>|| No. 12224
Not so much a cover but an alternate mix by Maynard, Frusciante and Nine Inch Nails bass player/keyboardist Danny Lohner.
|>>|| No. 12225
John Frusciante has always seemed underappreciated to me. I know a lot of his solo work is quite experimental, but Shadows Collide With People is one of my favourite albums.
|>>|| No. 12226
Not quite a cover but I really enjoy the contrast between the gangsta rap lyrics and the carefree melody of Bananarama's Cruel Summer.
|>>|| No. 12237
I wish PMJ would fuck right off. YouTube keeps recommending me their shite.
|>>|| No. 12238
I tried listening to one of their covers but had to turn it off because it was so shite. Quite a lot of artists going for that sort of sound aren't anything special once you get past the novelty factor.
|>>|| No. 12239
They do have as couple of genuinely cracking covers, I will defend them that far. However they also have a lot of lazy shite ones that completely miss what should have been obvious features of the original, and just throw the lyrics at a generic sounding bit of jazz backing.
It's all sickeningly hipster, but whoever picks their songs has shite taste in the first place. If they took their time they might be great.
|>>|| No. 12240
You said it better than I could. There are some gems among their playlist.
|>>|| No. 12241
Embarrassed to admit Weird Al looks pretty cute in this video.
|>>|| No. 12242
Can't tell if this is an example of a gem or a shite one but the arrangement is really rather bad.
|>>|| No. 12243
That cover is dog shit.
It does nothing new to the song creatively. It just sounds like a crapper version.
I feel sad for Weird Al. Weezer can drag themselves through the dirt (in fact I've been lead to believe from their self loathing previous work that they like to) that's fine. But there is no need to take it out on Al, Toto and US, just to try cash in on a meme.
|>>|| No. 12244
Given that Brian Wilson was arguably the greatest pop arranger of all time, the question is whether anyone should bother covering his work. The main artistic justification for recording a cover is to reveal a new perspective on the original composition, but can anyone credibly claim that they listened to God Only Knows and thought aha, I know what Brian Wilson missed when he arranged and recorded that?
|>>|| No. 12289
>The main artistic justification for recording a cover is to reveal a new perspective on the original composition
In this case the artistic justification is to pick a song that will get a lot of likes and shares from hipsters who want to hear Pet Sounds with a saxophone.
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