Cover Versions, Hard-to-find

I like it, I like it, I la la la like it.

Watching Glastonbury from the comfort of my armchair, one band stuck out like a sore thumb. But a good sore thumb. A really good sore thumb. Springsteen? Hmmm. Sure, he’s got the knack of making a hundred thousand people feel like he’s serenading them on a one-to-one basis in the dressing room of King Tuts. Neil Young? Hmmm, yeah, but he does go on a wee bit too long. Just a tiny bit, but a wee bit nonetheless. Long may you run and all that, but c’mon Neil. Blur? Punkpoppogoagogo. Damon All Bran shadow boxing and jogging on the spot. Graham Coxon rolling around on the floor whilst soloing. Yeah, it’s all very 1992. I liked them a lot. But nope. The band that really did it for me were Status Quo. Yep. You read that right first time. Status Quo.

If only for their opening 5 minute salvo, I’d have been delighted to stand in a crowded field full of B.O. and pollen. Had I been there, my fingers would’ve been firmly in my belt loops and I’d’ve been heabanging away like some of those hopelessly embarrasing bald-on-top, long at the back tour t-shirt-wearing accountants-by-day oldies. Status Quo’s opening song sounded so good, I thought it was 1973 again. There’s a slow build up of feedback that Kevin Shield’s would’ve been proud of. Parfitt’s fingers are barred and poised to start chugging out the F-Shape at the 13th fret. As he finds the rhythm and locks the groove, Rossi fades himself in with that instantly recognisable counter riff on his green Tele. The rest of the band get on with the no-nonsense heads-down boogie and we’re off. Come on Sweet Caroline! Take my hand, together we can rock and roll! As that other rock ‘n roller who clearly stole Parfitt n’ Rossi’s patented denim-with-white-trainers look might say, Sen. Say. Shee. Oh. Nal. Aye Liam. You’ve been out rocked and out rolled by a couple of old men in waistcoats and bad hair.

quo

Of course, twas not always thus. Sure, they’ve mostly always had bad hair and often had a penchant for sporting the garishly coloured waistcoat, but back in the 60s, Status Quo were fresh from the Butlins holiday camp circuit and had a ‘The’ at the start of their name. If you’ve ever seen Spinal Tap (and of course you have) The Status Quo were a psychedelic beat combo in much the same vein as that film’s The Thamesmen. Paisley shirts? Check! Wah-wah? Oh yes! Multi-coloured guitars? Absolutely man!

status quo thamesmen

The Status Quo                        The Thamesmen

The Status Quo are amazing. They’re probably best known for Pictures of Matchstick Men, covered by many including most recently Kasabian for a Radio 2 session with Dermot O’Leary. Christ. I hate that band. They’d love to be Primal Scream, wouldn’t they? Anyway, back to The Status Quo. Not ‘The Quo’. That means ‘In The Army Now’ and best-forgotten collaborations with Manchester United. The Status Quo. Ice In The Sun. Another slice of 60s psychedelia. A coupla years later and they’d be slaves to the boogie. Here‘s their version of The Doors ‘Roadhouse Blues’. Guilty as charged, m’lud. For years I never knew this was a cover. When I was 10 I got ‘From the Makers Of…‘ a triple LP Status Quo Box Set from Santa. It’s still in my collection, as is  ‘Picturesque Matchstickabale Memories From The Status Quo’. If you only buy one Status Quo album this year, etc etc….You’ll not find it in Tesco but it’s worth seeking out.

status quo matchstick

Cover Versions, Hard-to-find

Ripping off Johnny? Off with their heads!

Can’t get that new Yeah Yeah Yeahs single out of my head at the moment. ‘Heads Will Roll’ is cracking; hysterical vocals, electro rush and an outrageously shame-faced borrowing of the guitar riff from PIL‘s ‘This Is Not A Love Song’. Where John Lydon sneers, Karen O breathes. Where PIL throbs, Yeah Yeah Yeahs soar. But there’s no denying both are terrific songs, even if one borrows heavily from the other.

pil

The original version of ‘This Is Not A Love Song’ was PIL‘s biggest hit single, reaching number 5 in 1983. A remixed version featuring brass, keyboards and noticeably less guitar was released as a 12″. It was this version that prompted guitarist Keith Levene to leave the band. I don’t know what he’d have made of the Yeah Yeah Yeahs (cough) ‘reworking’ of the track – it too is fairly keyboard heavy. But for want of a better phrase, it rocks!

yeahyeahyeahs

I like Karen O, even if she looks like she’s going out as Joey Ramone for Halloween. She’s got the attitude, style and ballsy presence that all my favourite female singers have. I’d never tire of punching those other 2 though. Wimpy poseurs in skinny jeans. Grow up ya couple of fannys. Still. ‘Heads Will Roll’. Great single. In a gazillion different mixes too…

Heads Will Roll (original)

Heads Will Roll (LA Boxers Dub Remix)

Heads Will Roll (Johnny Roxx Remixx)

Heads Will Roll (Foulhouse Remix)

Heads Will Roll (Weird Tapes version)

Heads Will Roll (Emre B remix)

*BONUS TRACK! French artist singing in English cocktail jazz re-working of ‘This Is Not A Love Song’. Covered by Nouvelle Vague. Fact 1. Pete Doherty would give his trilby-hatted skanky head to get this sound on one of his records. Fact 2. Nouvelle Vague’s version of  Love Will Tear Us Apart is one of the most downloaded tracks on Plain Or Pan. Seek and ye shall find. 

Hard-to-find

Inspiring words (a short post)

I don’t normally get political on here, but I felt the need to link to this guy’s excellent post on his blog, Curry and a bit of Motown.

Stirring stuff, eloquent and straight to the point.

Here‘s Aretha Franklin‘s full, unedited extended intro version of ‘Chain Of Fools’. Hold tight for more stuff soon…

Cover Versions

Our Friends Eclectic

Forever just that one crucial half-step behind the hip and happening, tonight finds Plain Or Pan puffing, panting, gasping and wheezing in order to bring you the most exciting thing I’ve just heard since, oooh, well, the last exciting thing I’ve just heard (that’td be the Danger Mouse album, scroll down a wee bit). Aye. Most of you will no doubt at least have heard of these tracks by now and will possibly have them already. Some of the more astute amongst you may even have actual physical shiny black vinyl copies of a couple of the tracks. If so, bear with me. And do tip me off about such things in future. For the rest of you who pop over here from time to time, I bring you The Dead Weather.

the-dead-weather

Aye. the Dead Weather. An electro-blues based guitar supergroup of sorts. Featuring a Queen of the Stone Age on guitar, a Raconteur/Greenhorne on bass, a Kill on sulky vocals and the multi-talented Jack White on yer drums. A line-up like that could be a catastrophe in the making but no, everything I’ve heard so far sounds just as you’d expect. Distorted vocals. Crunching riffs. Stops. Starts. Squealy bits. To compare The Dead Weather to that drummer’s other 2 bands would be folly. The White Stripes? Bluesy, loud, fantastic, but the drummer cannae  play for toffee. The Raconteurs? They’ve taken their history classes in classic guitar rock, filtered out the worst excesses and passed the test with flying colours. And a decent drummer. Kick out the jams and all that. The Dead Weather? Aye. All of the above and more. They sound NOW!, not retro. These tracks have all been floating around cyberspace for a wee while now, but the versions below are the best quality mp3s around.

Hang You From The Heavens (First singe. Track 1 on Horehound)

Are Friends Electric? (b-side to single. Gary Numan/Tubeway Army cover)

Treat Me Like Your Mother (track 2 on Horehound, out July 14th)

They’re all fantastic, but on first listens alone, Treat Me Like Your Mother makes it straight into my Best of The Year compilation that I pass out to friends every Christmas. A duet of sorts ‘tween singer n’ drummer, it sounds like Led Zeppelin battling it out with PJ Harvey. It’s that good. “M.A.N.I.P. Yooolate!” If I had it on vinyl, it’d be worn down to the thickness of a flexi-disc by now. As I don’t, the only only other thing that’s puffing, panting, gasping and wheezing round here is Windows Media Player. Even it’s not fed up of The Dead Weather yet. Unlike that Danger Mouse album, if truth be told (!)

the-dead-weather-music-video

Cover Versions, demo, Hard-to-find

Can Gone Congo! Total Jungle Funk, Man!

 

 Hey! Hey! Hey! A-Hey! Hey! Hey! You’re twistin’ my melon, man! You know you talk so hip man, you’re twistin’ my melon, man! Call The Cops!

And with that carefully chosen piece of garbled nonsense Shaun Ryder, the thinking man’s Poet Laureate, put his band the Happy Mondays and a whole host of shuffly drummered 3rd rate copyists into the mainstream where they set up camp in Nedville for every Joe Bloggsed-up ned, bam and ‘yeah but no but yeah but right but’ wee hairy to claim them as their very own. Not that us music snobs were in anyway put out of course.

john kongos

Yer real actual music fans could tell you that “Step On was a cover, actually“, by the wonderfully named John Kongos. Sounds a bit like Congo, doesn’t it? Which is fairly appropriate, as his original version is a thumping tribal chant of a record. With a brilliant guitar riff. Replicated note for twanging note by Horse, yer Mondays tragically under-rated natty hat-wearing guitar player. Much like the Sex Pistols and Glen Matlock, the rest of the band hated him. He didn’t play in any of the comeback gigs. There’s yer problem right there, reformed Happy Mondays.

happy mondays

South African-born Kongos was also responsible for giving the Mondays another hit in the form of Tokoloshe Man. The original features a bluesy, swampy guitar riff and more tribal drumming a la He’s Gonna Step On You Again. The cover is pretty faithfull, although the Ryder brothers have flung a big bucket of Salford grime, muck and scuzz all over their clattering industrial funk and most of it’s stuck.  Paul Oakenfold does his best to polish it up, but it’s not too glossy. A perfect example of (gads) late 80s/early 90s indie-dance, in other words.

Johnny Wakelin

The 2 John Kongos tracks really remind me of In Zaire. The 1976 original was by Johnny Wakelin. Written about the Ali-Foreman 1974 Rumble In The Jungle boxing match, it has since been recorded by numerous no-mark disco artists. When I first started going to discos as an under-ager, In Zaire was regulalry played. I loved it. Johnny Wakelin’s version is the best. Chanting, repetitive riffs, tribalism again, it’s like Can gone Congo. Total jungle funk, man! 

Bonus tracks!

Happy MondaysStep On (Stuff It In mix)

Happy MondaysBring a Friend (Bummed album demo)

Double Nugget, Hard-to-find

Slave To The Rhythm Method

You’ll need a good scrub in the bath after listening to some of these tracks…

Probably long before Little Richard even though about hollering “Tutti Frutti, Oh Rudi“, pop music has been awash with sexual reference and innuendo. Island Records’ current celebration of their 50th birthday found me thinking about ‘Pull Up To The Bumper’, the Grace Jones hit from 1981.

grace jones bumper

The elastic band bassline (courtesy of Sly and Robbie’s Robbie), pattering percussion and honking horns can’t disguise the fact that this track is downright filthy. Taken at lyrical face value it would appear to be about driving through city streets at night, cruising the scene looking for action. So far, so very 80s. The fact that it’s sung by a woman might change your perception of it a wee bit, but if you know anything about Grace Jones you’ll be well aware of her appetite for life’s little pleasures.

grace jones cage

It should therefore come as no surprise when you read between the lyrics and discover that Pull Up To The Bumper is really an open invitation to come and get it.

Driving down those city streets,
Waiting to get down,
Want to ditch your big machine,
Somewhere in this town?

You’ll find the proper place,
Just follow all the written rules,
You’ll fit into the space.

Now in the park and lock garage,

Pull up to my bumper baby,
In your long black limosine,
Pull up to my bumper baby,
And drive it in between.

Pull up, to it, don’t drive, through it,
Back it, up twice, now that, fit’s nice.

back up I’ll pump your tire baby

We operate around the clock,
So won’t you please come in?
There’s lot’s of space for everyone,
Plus one for you my friend?

The lines are short,
I’ll fix you up so won’t you please come on,
That shiny, sleek machine you wheel,
I’ve got to blow your horn.

Pull up to my bumper baby,
In your long black limosine,
Pull up to my bumper baby,
Drive it in between.

Pull up to it, don’t drive through it,
Back it, up twice, now that fits nice,
Grease it, spray it, let me luricate it,
Pull up to my bumper baby.

See what I mean? There’s a multitude of versions out there. In addition to the original version from the Nightclubbing album (see above), there’s a nice early version from the Compass Point studio sessions (I think). There’s also an extended 12″ (uh-huh) version, which is basically the unedited final version of the album track. Larry Levan, Paradise Garage house DJ supremo took that version and updated it to a sleeker, club-friendly version.  This version reminds me a whole lot of..

Prince bw

‘Lady Cab Driver’ by Prince. Shuffling percussion? Check! Rinky-dink funk guitar? Check! Honking horns? Check! Suggestive lyrics? Check, although Prince isn’t as suggestive as Grace Jones, he’s more straight ahead and right to the point. Of course, the purple headed perv is no stranger to such things. But you knew that already. But have you heard the alternate mix of ‘Erotic City?

clique

The easily offended should cover their ears and look away now. The Clique are a mysterious band. The ying to Grace Jones yang, their track ‘Bareback Donkey Riding’ was recorded in 1995 by Mr Lo-fi himself, Liam ‘Friend of Jack White’ Watson at ToeRag Studios. But if you didn’t know that, you would be let off for thinking this track was recorded by some enthusiastic mid-western garage band in 1964. Heavy on the hammond, distortion and passionate vocals, it’s a Nugget-friendly no hit wonder. But have a listen to some of the lyrics…

Well here we are again

It’s you and me my friend

Let’s go throught he same routine

We’ll get there in the end

 

Last night she went away

Didn’t want to stay

Packed her bags and called a cab

I guess it’s not my day

 

If I could find a girl who’d like to hold the reigns

We could carry on our sordid lovers games

Bareback Donkey Riding! Bareback Donkey Riding!

Let’s go through the same routine? Beg beg beg! What d’you mean “not tonight?” Sounds like his girl left him because he wanted to do something that she didn’t. ‘Bareback‘? No protection? Another word for donkey? I’ll leave you to work out what it all means. I might be wrong…

*BONUS TRACK. Here‘s the Serge Santiago Special Edit of Grace Jones‘  ‘Slave To The Rhythm’.