Restless

I love this song. It is washing me over with something so pure and ethereal I can barely listen to it and breathe at the same time. And it gets better with each listen.



What is that you say? It isn't a cover? Don't care--I'm sharing it anyway.

At Last

"At Last" is a song that was written in 1941 by Mack Gordon and Harry Warren for the musical Orchestra Wives. The song was first performed both in the film and on record by Glenn Miller and his orchestra, with vocals by Ray Eberle and Pat Friday. However we all know that the distinction for the definitive version goes to none other than the illustrious Etta James, who released the song in 1961.



It has been covered a close to hundred times by many artists, including Ella Fitzgerald, Diana Krall, Jason Mraz, Céline Dion, Norah Jones, and Aretha Franklin. Beyoncé’s version (released in late 2008 in conjunction with her role as Etta James in the movie Cadillac Records) caused a mild controversy when she was chosen to sing it at the inauguration ball of President Obama in January 2009. Etta James subsequently made some disparaging remarks at some concerts, although she later clarified that she holds no animosity for the singer.

Hiatus

I'll be going out of town here soon, so I've left you with a slew of entries to hold you over in my absence.

Tootles!

Let's Do It, Let's Fall in Love

This popular standard was written in 1928 by Cole Porter, and made its debut in Porter's first Broadway success (after a string of failures) in a musical called Paris. It was performed by French chanteuse Irène Bordoni for whom Porter had written the musical as a starring vehicle after her husband insisted that Porter give Broadway one more chance. Unfortunately, I was unable to locate a copy of this version.

Bing Crosby with Dorsey Brothers and Their Orchestra

Recently Alanis Morrisette did a jolly cover of it that I rather like. It’s from the 2004 film De-Lovely:

John Mayer on Covering a Song

This is a bit of commentary from John Mayer on the mechanics of covering a song.

Over the Rainbow

“Somewhere Over the Rainbow” is a pop standard most commonly associated with Judy Garland, and is generally considered to be her signature song. It was written by Harold Arlen and E.Y. Harburg for the 1939 film The Wizard of Oz. While Garland’s version remains definitive and, in my humble opinion, magnificent, there was a version by the Hawaiian artist Israel “Iz” Kamakawiwo’ole that gained some popularity for its sparse arrangement and distinct ukulele accompaniment. Though Iz passed away in 1997, his music has remained a staple of movies, television and commercials ever since. I am not ashamed to say I learned about this version when Jason Castro sung it on American Idol in 2008.

Six-year-old Connie Talbot became an internet sensation and favorite on the show Britain’s Got Talent when she wowed the judges with her rendition of this standard in 2007.

The original:

Bohemian Rhapsody

I was going to post this after about ten other blogs I have down the hatch, but, in light of recent events, I thought now my be a better time.

“Bohemian Rhapsody”: It’s shocking to think now, but when I first heard The Braid’s version of “Bohemian Rhapsody” (made for the movie High School High), it sounded like this totally original ode to the urban struggle. When my dad told me that a British band named Queen had done it first and the song was really almost six minutes long, I was defensive of this version I saw as perfect and new. But now, while I still mildly enjoy the other version, I have come to regard the original as one of the greatest songs ever made.

The Braids’ version:

The Muppet’s version: When this was posted on YouTube on November 23, 2009, it quickly amassed over a million views in 48 hours. Because it’s pretty much hilarious and the Muppets rock. At the time I’m posting this, the count has reached over 5.6 million.

Queen’s version:

Feelin’ Good

In today’s musical climate, pop music can mean anything from Mariah Carey to Miley Cyrus. But, in the 1940s, 50s and even into the 60s, it largely referred to what we now call standards—the crooning melodies of classy dames and dapper dandies sung in smoke-filled venues like the Copacabana. These songs were meant to be covered, and a multitude of artists have taken a stab at them pretty much nonstop since that time. This will be the first in a series on standards. Today’s installment: “Feeling Good.” The song was written by Anthony Newley and Leslie Bricusse for the 1965 musical The Roar of the Greasepaint—the Smell of the Crowd and was first performed by Gilbert Price of the original Broadway cast. Wikipedia holds that this song has been covered no less than 31 times, and the genres vary wildly. But below I have included three that I find entertaining.

The original:



The (arguably) definitive version by Nina Simone:



My personal favorite by Michael Bublé:

Take Me Home Tonight

Let’s start out with a fun one, brought to you by my sister. Eddie Money is probably best known for his 1986 pop hit “Take Me Home Tonight.” In the song, Eddie sings the virtually incomprehensible line “Listen, honey, just like Ronnie sang,” just before a female vocalist belts out, “Be my little baby.” Who is Ronnie and what did she sing? Well, “Ronnie” is none other than Ronnie Spector, ex-wife to the murderous Phil Spector and lead singer of the 1960s girl group, the Ronettes. The Ronettes biggest hit was the song—you guessed it—“Be My Baby.” Eddie chose Ronnie to sing the iconic line in his own song some 23 years later, and she makes an appearance in the video. The 1963 Ronettes single can be found here.

In the beginning...

...there was folk music. People who had access to talent, instruments and an audience would play songs they'd written or heard somewhere, often before a few family and friends, or—if they were fortunate—in some community venue. They would strum, pick, puff and belt out these ditties to the best that their abilities, or memories, allowed. With the prevalence of the gramophone and radio, commercial music became commonplace and, initially, was often the first time a tune had ever enjoyed a mass audience. But now, you can barely listen to the radio or YouTube a video without hearing sampling, stolen chords, tributes, remixes and covers of songs you’ve heard before. And too all of that I say...

Bring it on. I love a good cover. I've even liked a bad cover or two. And I get absolutely giddy when I discover that a great cover has replaced the original as the elusive "definitive" version. This blog will chronicle the life of songs that have the nasty habit of shamelessly taking up with new artists—to varied results.