‘Tis The Season For Crap Cover Versions

An ’80s music scribe whose name escapes me once wrote that Paul Young didn’t just murder Joy Division’s ‘Love Will Tear Us Apart’, he dismembered it and burnt its house down.

I’m paraphrasing of course, but, listening to the current crop of seasonal offerings, I can sympathise. Readers in the UK will have recently been – or will shortly be – inundated with Christmas TV ads half-inching ‘classic’ songs. Years gone by have seen hugely successful ‘pop’ takes on ‘indie’ standards such as Lily Allen’s ‘Somewhere Only We Know’, and probably a few more too.

Love ’em or hate ’em, at least there’s some kind of stylistic consistency there. More disturbing is the recent appropriation of soul and funk classics. There’s a beyond-anodyne, twee, puny take on Rufus & Chaka Khan’s ‘Ain’t Nobody’ knocking about, sung by a vocalist/arranged by an arranger who have meticulously removed every vestige of emotion, feel and syncopation from the original.

You could say the same about the version of Camille Yarbrough’s ‘Take Yo’ Praise’ currently all over the telly. A bright spark in adland, or the artist herself, has obviously said: ‘Yes, let’s take this heartfelt tribute to the Civil Rights pioneers and turn it into a banal snore-fest celebrating the feeling you get when you are hoovering up stuff that you really don’t need’. High-fives all round. (Of course Fatboy Slim was first out of the blocks with this one).

And we won’t even get into the cover of Chic’s ‘Good Times’ that has recently reared its ugly head.

When did all of this start? I blame Foghorn Florence’s annihilation of Candi Staton’s ‘You Got The Love’. (She even had the audacity to rename it ‘You’ve Got The Love’!) On the plus side, the original writers are getting a decent wedge from the publishing. Yarbrough apparently takes 60% of the Fatboy royalties. So at least the pioneers won’t have any problem buying Christmas presents this year, or any other for that matter.

But money isn’t everything. So I’ll be hunkering down and attempting to avoid Elbow’s cover of ‘Golden Slumbers’ for as long as humanly possible. In the meantime, feel free to nominate your worst-ever cover versions below.

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Aces Of Bass in Early-’80s Britpop

mark_king_1988_tel_aviv_israelWatching the superb reruns of ‘Top Of The Pops’ recently, it’s apparent how many great bass players stormed the UK charts during the early/mid-’80s.

Everywhere you looked, there were hip, young four-stringers with good haircuts and some nifty licks (or ‘kids with a riff’, as Robert Palmer called them).

Though very much under the twin influences of Chic’s Bernard Edwards and Jaco Pastorius, a whole host of ’80s players managed to forge some truly original sounds while clearly utilising the feels and techniques of both American bassists.

Here’s a smattering of great British players of the period (more from across the pond soon) with a few of their enduring performances. Make sure your subwoofer is turned on…

9. Mick Karn

By Japan’s 1979 Quiet Life album, the man born Andonis Michaelides had become one of the most original fretless players of all time, effortlessly bypassing the Jaco template. His lines were also absolutely integral to the band’s formula and eventual success. This minor hit demonstrates his melodic approach (though somehow he was denied a songwriter credit) and his playing reveals new discoveries even 35 years on.

8. Tony Butler

Shepherds Bush-born Butler brought something very unique to ’80s rock and pop with his band Big Country. He also formed a key rhythm section alongside drummer Mark Brzezicki. Check out his bouncy, almost dub-style rhythmic approach on this beautifully structured bass part.

7. Derek Forbes

The hyperactive Glaswegian just couldn’t stop coming up with classic early-’80s basslines. After his departure from Simple Minds in 1984, he also added some quality low-end work to Propaganda’s touring band.

6. Guy Pratt

The Artful Dodger of the early ’80s bass scene, Guy cut his teeth with Icehouse before breaking out to play with everyone from Madonna to Pink Floyd. This quirky 1984 hit is a compilation of all his licks and tricks – producers seemed to like his ‘more is more’ approach…

5. Graham Edwards

According to Pratt’s great ‘My Bass And Other Animals’ book, Edwards was always going up for the same gigs as him back in the mid-’80s. Now an almost forgotten name, he played some excellent stuff in Go West’s live band and also shone on this underrated gem:

4. Pino Palladino

Pino’s highly melodic fretless style had already graced megahits by Gary Numan and Paul Young by the mid-’80s, but this always seemed like his most intense, distinctive groove, with more than a hint of Bernie Worrell/Parliament’s ‘Flashlight’ about it.

3. Mark King

Mr King has to be in this list. Though best known now for his formidable slap technique, his crisp, fluid fingerstyle lines were just as distinctive, not least this Eastern-tinged salvo which really sums up the spirit of 1982 (though one wonders if he’d like another go at the vocal…).

2. Colin Moulding

The XTC man’s flowing, melodic style showed that he was a worthy heir to Paul McCartney. No matter how ‘standard’ the chord changes, you could rely on Moulding to come up with something memorable.

1. John Taylor

Like or loathe Duran Duran (I have to say I was usually of the latter persuasion), Taylor certainly came up with some memorable if somewhat samey grooves (as gleefully parodied by Mr Pratt), finding a pleasingly-understated style on this minor classic.

Any more for any more?