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Are you on drugs? Lennon murdered (no pun intended) this song! His vocals are no match for Ben E King's.
"I've got nasty habits I take tea at three"
Buckley's cover of Hallelujah is a cover of the John Cale version of that song. Buckley added that voice from the heavens.
Nice, good one but it reminds me of the all time top Clash cover: Pressure Drop!!
????
Never heard that version of the story.
Other than Brian adding wicked slide, it was pretty much recorded as it was written by the Beatles as far as I know.
And not sure it would count as a cover - as you say the Stones released it first.
But if it does count as a cover, I'd agree the Stones version just might surpass the Beatles version...maybe.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
yes...love their version. but I think I still prefer the original on that one.
This ^
So true, Stewedandkeefed.
Mississippi from Love and Theft is just packed with emotion. When he sings, "Not as tight as the corner that I paaaaiinted myself in" I get the shivers every single time.
To me Love and Theft is one of the most brilliant albums ever recorded by anyone -- with the exception Tweedle Dum and Tweedle Dum, the who platter is flawless.
T@3
Fortunately I'm not on drugs. Just my opinion. Lennon turned this song into a 'rock' song in much the same way as the Stones did with Just My Imagination and Ain't Too Proud To Beg.
Also, Cheap Trick's "Ain't That A Shame" which borrows heavily from Lennon's version.
"No Anchovies, Please"
Your right........
__________________________
Their cover of My Generation is also great.
Edited 1 time(s). Last edit at 2015-11-03 23:19 by MacLaurens.
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Re: Cover versions that outperform the original
Posted by:
herecomesrichard
()
Date: October 31, 2015 13:21
Just My Imagination. The Stones topped the Temps and live topped their own studio recording.
Re: Cover versions that outperform the original
Posted by:
latebloomer
()
Date: October 31, 2015 14:01
Perhaps it's already been posted somewhere, but this thread seems like a good place to drop this story, written after Mick performed at the Grammy's in 2011. In my book, Not Fade Away is arguably the Stones finest cover.
Behind The Song: “Not Fade Away”
At this year’s Grammys, 67-year-old Mick Jagger was out from the get-go to tell the audience how it was gonna be. He wasn’t ceding anything to age. He still had the musical spirit and the stamina – and the physique – of a much younger Rolling Stone. And he sure didn’t act in what many would consider an age-appropriate way when he performed the late Solomon Burke’s “Everybody Needs Somebody to Love” on the telecast.
Wiry and hyper-animated, rail-thin and acrobatic, the brown-haired, blue-jeaned Jagger pranced, danced and promenaded his way through this rave-up of a soul stomper, urging the adoring audience to join in. He came out wearing a gold cape, which he doffed to reveal a resplendently glittery turquoise jacket. The band, fronted by younger guitarist Raphael Saadiq, kept the pace fast – once or twice Jagger even chased around or pushed off of Saadiq.
The performance, more than just a tribute to Burke, was a reminder – a revisiting – of the Rolling Stones’ 1964 appearance on The T.A.M.I. Show, when Jagger fronted his young band through a set of R&B/rock tunes. Now here he was, 46+ years later, still making the same kind of vital and exciting music.
When I say “didn’t act in what many would consider an age-appropriate way,” I mean he’s still performing rock ‘n’ roll like he means it. He hasn’t adopted an ironic or self-amused tone, churning out rote sentimental nostalgia for the oldies circuit. He hasn’t let the fury and power of his music – the connection to roots and authenticity – fade away with time.
And that brings up the enduring power of a song the Stones helped define – “Not Fade Away.” When they released their cover of a 1957 Buddy Holly B-side in the U.S. in early 1964, the Stones were trying to push into a market the bright-sounding Beatles (and the Dave Clark Five) were taking by storm. Their choice was to revamp the Holly song with a rough-hewn and scruffy percussive Bo Diddley beat, powered by Keith Richards’ opening guitar chords, eerily perched between minor and major key and a precursor of “Street Fightin’ Man.”
But the song was too bluesy with Brian Jones’ harmonica, too churning and guttural and too dangerous, to hit big on the U.S. charts, although the momentum of the British Invasion pushed it up Billboard’s Top 100 chart to No. 48. The B-side, a version of the Beatles’ “I Wanna Be Your Man,” accounted for a lot of the sales. (In England, “Man” and “Not Fade Away” had been released separately and both were big hits.) It took the Stones a couple more tries to get a big U.S. hit (“Time is On My Side”) and a full year for a single, “(I Get No) Satisfaction,” to rival the Beatles’ biggest songs.
Yet more and more, “Not Fade Away” has come to be one of rock ‘n’ roll’s most prophetic songs – for Jagger and the Stones, the other rockers of their age group, for rock-loving Boomers. It’s one of the Stones’ key recordings. As the years pass it sounds like the defiant shout of someone who has punched through the fear and loathing of “Gimme Shelter” and is still standing. Still performing with artistic commitment intact.
If you doubt that, look at the impressive list of iconic Boomer artists who perform it – like a badge of honor. Bob Dylan. Bruce Springsteen. Patti Smith. The Byrds. Tom Petty. James Taylor. Sheryl Crow. Tanya Tucker. You can see a powerful 1964 version by the Stones on YouTube, with Jones on harmonica and Jagger playing maracas. Perhaps the band after the Stones to do the most to establish the song in the rock canon was the Grateful Dead. According to Wikipedia, they performed “Not Fade Away” 530 times in their career; it was their seventh most-performed song. (It says something about the importance of the band to their fans that this is so well-documented.)
Back in the era when the Stones first recorded “Not Fade Away,” during the initial stages of the British Invasion, a rival band – The Who – recorded (it hit U.S. charts in early 1966) “My Generation.” It caused a huge sensation in the way a sputtering, stuttering Roger Daltrey made the famous line “Why don’t you all f-fade away,” a reference to older squares who didn’t get the Invasion, sound like he was going to say “@#$%&.” But even more striking was the line “Hope I die before I get old.” For a long time, that seemed like the slogan of the rebellious, counter-cultural rock generation. It appeared that “My Generation” would become an immortal rock anthem. But time marches on. Now, when the song is performed, it’s as a period piece, a wink at the illusions of youth, especially the romantic attitude toward death.
It has become post-modernist ironic. But “Not Fade Away” has not.
“Not Fade Away’s” release history begins when singer-songwriter-guitarist Holly and his band, the Crickets (Joe Mauldin on bass, Jerry Allison on drums, Niki Sullivan on rhythm guitar), were just finding their rock groove in autumn, 1957. They were putting some tracks just as the Crickets on the Brunswick label, and some just under Holly’s name on Coral. (Both labels were owned by Decca.) The Crickets’ “That’ll Be the Day” was the first breakthrough and “Not Fade Away” was the B-side of their second Top 10 single, “Oh, Boy!”
It hit airwaves just a month after the release of Holly’s first “solo” hit, “Peggy Sue.” (“Peggy Sue” was the bigger record) The flip side of “Peggy Sue” – “Everyday” – was recorded at the same session as “Not Fade Away,” on May 27th. So “Not Fade Away” both got lost in the onslaught of Holly product and was a part of Holly’s breakthrough season. Although on a smaller scale, Holly’s breakthrough was a harbinger of 1960s rock bands – a self-contained, unaffected rock band scored with simultaneous singles of its own material. That’s one reason Holly’s music became so treasured by later rockers.
Holly’s “Not Fade Away” has some of the dense, involving rhythm guitar work typical of his superb band, but it’s also a little, excuse the pun, chirpy. He and the others contribute now-dated, prominent back-up vocals, “Ooh bop wop bop-bop,” that sort of sound the way a kid from the wide open plains of Lubbock, Texas, might interpret urban doo-wop music.
The lyrics, credited to Holly (as Charles Hardin) and his producer in Clovis, N.M., Norman Petty, were demanding about chasing an object of affection. The song’s subject is almost a stalker, chasing a girl who’s not interested: “I’m a-gonna tell you how it’s gonna be/A-you gonna give-a your love to me” is the opening line. And then, “My love a-bigger than the Cadillac/I try to show it ‘n you drive-a me back.” (The Stones took the hiccupy accentuations out of the vocal delivery, helping to modernize it.) You can imagine Holly, born before the Baby Boom but just barely past his teen years at the time, imaging the Cadillac as the biggest, best, most powerful, most important object in the world. But not bigger than his love for…”you.”
In its adamant insistence about winning the love of another, underscored by driving rhythm, the song feels influenced by Diddley’s 1956 “Who Do You Love.” Lyrically, it isn’t as weird – how can you match Diddley’s “Got a brand new house on the roadside/made out of rattlesnake hide.”
But it has one absolute masterstroke: That title phrase. It’s grammatically awkward, not even completely coherent. I think it implies “My love for you is so important I’ll never, ever let it fade away.” But that would be a confession. Repeating “not fade away” raises the term to a command, a chant, an incantation. It gives it almost spiritual meaning, which is why the song continues to mean so much. Does anyone really care about the rest of the lyric?
There may be another reason, too, for the song’s ongoing popularity. Holly died in a shocking plane crash on Feb. 3, 1959, in the middle of a cold Midwest concert tour known as Winter Dance Party. It’s been memorialized time and again in pop culture, in film, literature and song (“American Pie”). In a way, the Stones’ “Not Fade Away” was an early memorial – a cri de coeur to not let Holly’s legacy ever be forgotten. And now, when the musicians with 1960s (and later) roots continue to play it as they begin to consider their mortality, it’s a promise they won’t let that happen to their own, either. My guess is younger musicians – and future ones – will be doing the same.
Behind The Song: “Not Fade Away”
At this year’s Grammys, 67-year-old Mick Jagger was out from the get-go to tell the audience how it was gonna be. He wasn’t ceding anything to age. He still had the musical spirit and the stamina – and the physique – of a much younger Rolling Stone. And he sure didn’t act in what many would consider an age-appropriate way when he performed the late Solomon Burke’s “Everybody Needs Somebody to Love” on the telecast.
Wiry and hyper-animated, rail-thin and acrobatic, the brown-haired, blue-jeaned Jagger pranced, danced and promenaded his way through this rave-up of a soul stomper, urging the adoring audience to join in. He came out wearing a gold cape, which he doffed to reveal a resplendently glittery turquoise jacket. The band, fronted by younger guitarist Raphael Saadiq, kept the pace fast – once or twice Jagger even chased around or pushed off of Saadiq.
The performance, more than just a tribute to Burke, was a reminder – a revisiting – of the Rolling Stones’ 1964 appearance on The T.A.M.I. Show, when Jagger fronted his young band through a set of R&B/rock tunes. Now here he was, 46+ years later, still making the same kind of vital and exciting music.
When I say “didn’t act in what many would consider an age-appropriate way,” I mean he’s still performing rock ‘n’ roll like he means it. He hasn’t adopted an ironic or self-amused tone, churning out rote sentimental nostalgia for the oldies circuit. He hasn’t let the fury and power of his music – the connection to roots and authenticity – fade away with time.
And that brings up the enduring power of a song the Stones helped define – “Not Fade Away.” When they released their cover of a 1957 Buddy Holly B-side in the U.S. in early 1964, the Stones were trying to push into a market the bright-sounding Beatles (and the Dave Clark Five) were taking by storm. Their choice was to revamp the Holly song with a rough-hewn and scruffy percussive Bo Diddley beat, powered by Keith Richards’ opening guitar chords, eerily perched between minor and major key and a precursor of “Street Fightin’ Man.”
But the song was too bluesy with Brian Jones’ harmonica, too churning and guttural and too dangerous, to hit big on the U.S. charts, although the momentum of the British Invasion pushed it up Billboard’s Top 100 chart to No. 48. The B-side, a version of the Beatles’ “I Wanna Be Your Man,” accounted for a lot of the sales. (In England, “Man” and “Not Fade Away” had been released separately and both were big hits.) It took the Stones a couple more tries to get a big U.S. hit (“Time is On My Side”) and a full year for a single, “(I Get No) Satisfaction,” to rival the Beatles’ biggest songs.
Yet more and more, “Not Fade Away” has come to be one of rock ‘n’ roll’s most prophetic songs – for Jagger and the Stones, the other rockers of their age group, for rock-loving Boomers. It’s one of the Stones’ key recordings. As the years pass it sounds like the defiant shout of someone who has punched through the fear and loathing of “Gimme Shelter” and is still standing. Still performing with artistic commitment intact.
If you doubt that, look at the impressive list of iconic Boomer artists who perform it – like a badge of honor. Bob Dylan. Bruce Springsteen. Patti Smith. The Byrds. Tom Petty. James Taylor. Sheryl Crow. Tanya Tucker. You can see a powerful 1964 version by the Stones on YouTube, with Jones on harmonica and Jagger playing maracas. Perhaps the band after the Stones to do the most to establish the song in the rock canon was the Grateful Dead. According to Wikipedia, they performed “Not Fade Away” 530 times in their career; it was their seventh most-performed song. (It says something about the importance of the band to their fans that this is so well-documented.)
Back in the era when the Stones first recorded “Not Fade Away,” during the initial stages of the British Invasion, a rival band – The Who – recorded (it hit U.S. charts in early 1966) “My Generation.” It caused a huge sensation in the way a sputtering, stuttering Roger Daltrey made the famous line “Why don’t you all f-fade away,” a reference to older squares who didn’t get the Invasion, sound like he was going to say “@#$%&.” But even more striking was the line “Hope I die before I get old.” For a long time, that seemed like the slogan of the rebellious, counter-cultural rock generation. It appeared that “My Generation” would become an immortal rock anthem. But time marches on. Now, when the song is performed, it’s as a period piece, a wink at the illusions of youth, especially the romantic attitude toward death.
It has become post-modernist ironic. But “Not Fade Away” has not.
“Not Fade Away’s” release history begins when singer-songwriter-guitarist Holly and his band, the Crickets (Joe Mauldin on bass, Jerry Allison on drums, Niki Sullivan on rhythm guitar), were just finding their rock groove in autumn, 1957. They were putting some tracks just as the Crickets on the Brunswick label, and some just under Holly’s name on Coral. (Both labels were owned by Decca.) The Crickets’ “That’ll Be the Day” was the first breakthrough and “Not Fade Away” was the B-side of their second Top 10 single, “Oh, Boy!”
It hit airwaves just a month after the release of Holly’s first “solo” hit, “Peggy Sue.” (“Peggy Sue” was the bigger record) The flip side of “Peggy Sue” – “Everyday” – was recorded at the same session as “Not Fade Away,” on May 27th. So “Not Fade Away” both got lost in the onslaught of Holly product and was a part of Holly’s breakthrough season. Although on a smaller scale, Holly’s breakthrough was a harbinger of 1960s rock bands – a self-contained, unaffected rock band scored with simultaneous singles of its own material. That’s one reason Holly’s music became so treasured by later rockers.
Holly’s “Not Fade Away” has some of the dense, involving rhythm guitar work typical of his superb band, but it’s also a little, excuse the pun, chirpy. He and the others contribute now-dated, prominent back-up vocals, “Ooh bop wop bop-bop,” that sort of sound the way a kid from the wide open plains of Lubbock, Texas, might interpret urban doo-wop music.
The lyrics, credited to Holly (as Charles Hardin) and his producer in Clovis, N.M., Norman Petty, were demanding about chasing an object of affection. The song’s subject is almost a stalker, chasing a girl who’s not interested: “I’m a-gonna tell you how it’s gonna be/A-you gonna give-a your love to me” is the opening line. And then, “My love a-bigger than the Cadillac/I try to show it ‘n you drive-a me back.” (The Stones took the hiccupy accentuations out of the vocal delivery, helping to modernize it.) You can imagine Holly, born before the Baby Boom but just barely past his teen years at the time, imaging the Cadillac as the biggest, best, most powerful, most important object in the world. But not bigger than his love for…”you.”
In its adamant insistence about winning the love of another, underscored by driving rhythm, the song feels influenced by Diddley’s 1956 “Who Do You Love.” Lyrically, it isn’t as weird – how can you match Diddley’s “Got a brand new house on the roadside/made out of rattlesnake hide.”
But it has one absolute masterstroke: That title phrase. It’s grammatically awkward, not even completely coherent. I think it implies “My love for you is so important I’ll never, ever let it fade away.” But that would be a confession. Repeating “not fade away” raises the term to a command, a chant, an incantation. It gives it almost spiritual meaning, which is why the song continues to mean so much. Does anyone really care about the rest of the lyric?
There may be another reason, too, for the song’s ongoing popularity. Holly died in a shocking plane crash on Feb. 3, 1959, in the middle of a cold Midwest concert tour known as Winter Dance Party. It’s been memorialized time and again in pop culture, in film, literature and song (“American Pie”). In a way, the Stones’ “Not Fade Away” was an early memorial – a cri de coeur to not let Holly’s legacy ever be forgotten. And now, when the musicians with 1960s (and later) roots continue to play it as they begin to consider their mortality, it’s a promise they won’t let that happen to their own, either. My guess is younger musicians – and future ones – will be doing the same.
Re: Cover versions that outperform the original
Posted by:
Nasty Habits
()
Date: October 31, 2015 15:02
Quote
Valeswood
Stand By Me - John Lennon
Are you on drugs? Lennon murdered (no pun intended) this song! His vocals are no match for Ben E King's.
"I've got nasty habits I take tea at three"
Re: Cover versions that outperform the original
Posted by:
ab
()
Date: October 31, 2015 15:14
Yeah, Blind Willie McTell wrote it but The Allman Brothers Band's cover of Taj Mahal's cover of Statesboro Blues surpasses the Taj Mahal cover.
Re: Cover versions that outperform the original
Posted by:
ab
()
Date: October 31, 2015 15:17
Quote
latebloomer
All Along the Watchtower - Jimi Hendrix
Jeff Buckley - Hallelujah
Johnny Cash - Hurt
Joni Mitchell - Both Sides Now
more to come, as I think of them...
Buckley's cover of Hallelujah is a cover of the John Cale version of that song. Buckley added that voice from the heavens.
Re: Cover versions that outperform the original
Posted by:
Nasty Habits
()
Date: October 31, 2015 15:22
Does I Wanna Be Your Man count as a cover? Stones released it first and by all accounts they really wrote it as well as it was only half a song when they got given it. But in any case it's far superior to the Beatles version.
"I've got nasty habits I take tea at three"
"I've got nasty habits I take tea at three"
Re: Cover versions that outperform the original
Posted by:
treaclefingers
()
Date: October 31, 2015 15:31
While I like the Stones version, there is no way in hell it tops Dylan's original version of Like A Rolling Stone. That version is bullet proof.
Re: Cover versions that outperform the original
Posted by:
LeonidP
()
Date: October 31, 2015 15:43
Quote
Elmo Lewis
I Fought The Law - Clash
Nice, good one but it reminds me of the all time top Clash cover: Pressure Drop!!
Re: Cover versions that outperform the original
Posted by:
Hairball
()
Date: October 31, 2015 16:42
Quote
Nasty Habits
Does I Wanna Be Your Man count as a cover? Stones released it first and by all accounts they really wrote it as well as it was only half a song when they got given it. But in any case it's far superior to the Beatles version.
????
Never heard that version of the story.
Other than Brian adding wicked slide, it was pretty much recorded as it was written by the Beatles as far as I know.
And not sure it would count as a cover - as you say the Stones released it first.
But if it does count as a cover, I'd agree the Stones version just might surpass the Beatles version...maybe.
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Cover versions that outperform the original
Posted by:
treaclefingers
()
Date: October 31, 2015 16:48
Quote
LeonidPQuote
Elmo Lewis
I Fought The Law - Clash
Nice, good one but it reminds me of the all time top Clash cover: Pressure Drop!!
yes...love their version. but I think I still prefer the original on that one.
Re: Cover versions that outperform the original
Posted by:
latebloomer
()
Date: October 31, 2015 22:11
Quote
ab
Yeah, Blind Willie McTell wrote it but The Allman Brothers Band's cover of Taj Mahal's cover of Statesboro Blues surpasses the Taj Mahal cover.
This ^
Re: Cover versions that outperform the original
Posted by:
MingSubu
()
Date: October 31, 2015 22:17
..
Edited 1 time(s). Last edit at 2015-10-31 22:17 by MingSubu.
Edited 1 time(s). Last edit at 2015-10-31 22:17 by MingSubu.
Re: Cover versions that outperform the original
Posted by:
Hairball
()
Date: October 31, 2015 22:31
This just might be the mother lode of covers being better than the originals! 
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......
Re: Cover versions that outperform the original
Posted by:
TeaAtThree
()
Date: November 2, 2015 06:48
Quote
stewedandkeefedQuote
slewanQuote
Olly
Crow's and Dylan's respective versions of 'Mississippi': which is the original and which the cover?
Bob Dylan wrote the song and recorded several versions of it during the Time Out Of Mind Sessions (1996/97) but was somehow not satisfied with the results. Thus he gave the song to Sheryl Crow who recorded and released it right away. Bob Dylan himself rerecorded the song and released on Love & Theft in 2002.
Three (!) different versions of the song recorded in 1997 were released on Bootleg Series Vol. 8 (Tell Tale Signs) in 2008. One of these versions is a all acoustic take with only two guitars.
Btw: The version released on Love & Theft is a good example that shows why Bob Dylan is a much better singer than Sheryl Crow – while she rather screams and shouts the song (especially during the second half of it) Bob Dylan manages to put so many nuances in his voice and his phrasing that the song, it's story and it's message (if there is any) seem to change all the time (and each time you listen to it). – If been listing to that song for years but I'm never really able to tell if he sings "Things should start to get interestin' right about now" or "Things shouldn't start to get interestin' right about now
I consider Dylan's vocal on Mississippi one of the single greatest vocal performances of his career. I have heard many live versions of the song but none of them comes anywhere near the Love & Theft studio version. It is just such a special performance.
So true, Stewedandkeefed.
Mississippi from Love and Theft is just packed with emotion. When he sings, "Not as tight as the corner that I paaaaiinted myself in" I get the shivers every single time.
To me Love and Theft is one of the most brilliant albums ever recorded by anyone -- with the exception Tweedle Dum and Tweedle Dum, the who platter is flawless.
T@3
Re: Cover versions that outperform the original
Posted by:
Nasty Habits
()
Date: November 2, 2015 10:00
Quote
Hairball
????
Never heard that version of the story.
Other than Brian adding wicked slide, it was pretty much recorded as it was written by the Beatles as far as I know.
And not sure it would count as a cover - as you say the Stones released it first.
But if it does count as a cover, I'd agree the Stones version just might surpass the Beatles version.Quote
There's an interview where Lennon even says they had this half finished song that they gave to the Stones, I'll try and find it.
"I've got nasty habits I take tea at three"
Re: Cover versions that outperform the original
Posted by:
KatieGirl
()
Date: November 2, 2015 15:45
Quote
mr_djaSouthside Johnny's version of The Fever tops Bruce's in my mind.
C) I'd pick Bob's version of Like a Rolling Stone over the other two. HOWEVER, I'd pick Jimi's version of All Along the Watchtower over Bob's.
Totally agree with the above!
Re: Cover versions that outperform the original
Posted by:
RoughJusticeOnYa
()
Date: November 2, 2015 16:43
Quote
herecomesrichard
Just My Imagination. The Stones topped the Temps and live topped their own studio recording.
Re: Cover versions that outperform the original
Posted by:
angee
()
Date: November 3, 2015 05:01
"Wild Thing"--I also like Hendrix' version of that.
"In My Life"--I think Judy Collins gets the meaning across beautifully, though I like the Beatles' original.
~"Love is Strong"~
"In My Life"--I think Judy Collins gets the meaning across beautifully, though I like the Beatles' original.
~"Love is Strong"~
Re: Cover versions that outperform the original
Posted by:
Rip This
()
Date: November 3, 2015 14:26
Wild is the wind. David Bowie...extraordinary...
[www.google.com]
pretty beat up...Ronnie wood....Mick and Keith should pay much more attention to RW.....
[www.youtube.com]
[www.google.com]
pretty beat up...Ronnie wood....Mick and Keith should pay much more attention to RW.....
[www.youtube.com]
Re: Cover versions that outperform the original
Posted by:
Come On
()
Date: November 3, 2015 15:09
Rock'n Roll Music, Dizzy Miss Lizzy, Anna (go with him), Baby it's you, Please Mr Postman, You Really Got a Hold on Me, Money, Mr Moonlight, Words of Love from John/The Beatles
and each and every track from his album 'Rock'n' Roll from 1975...
Edited 1 time(s). Last edit at 2015-11-04 11:10 by Come On.
and each and every track from his album 'Rock'n' Roll from 1975...
Edited 1 time(s). Last edit at 2015-11-04 11:10 by Come On.
Re: Cover versions that outperform the original
Posted by:
GasLightStreet
()
Date: November 3, 2015 16:11
I'm not going to included live recordings as cover versions since it seems that should be studio recordings for an album. It's too easy. Any Chuck Berry tune the Stones covered live is easy to say.
So on that note...
The Cult covering The Sensational Alex Harvey Band's Faith Healer.
John Lennon - Ain't That A Shame
Elmore James - Dust My Broom
Johnny Cash - Hurt
Willie Nelson - For The Good Times
Willie Nelson - Loving Her Was Easier (Than Anything I'll Ever Do)
Willie Nelson - Sunday Morning Coming Down
The Rolling Stones - Stop Breaking Down
So on that note...
The Cult covering The Sensational Alex Harvey Band's Faith Healer.
John Lennon - Ain't That A Shame
Elmore James - Dust My Broom
Johnny Cash - Hurt
Willie Nelson - For The Good Times
Willie Nelson - Loving Her Was Easier (Than Anything I'll Ever Do)
Willie Nelson - Sunday Morning Coming Down
The Rolling Stones - Stop Breaking Down
Re: Cover versions that outperform the original
Posted by:
Valeswood
()
Date: November 3, 2015 16:28
Quote
Nasty HabitsQuote
Valeswood
Stand By Me - John Lennon
Are you on drugs? Lennon murdered (no pun intended) this song! His vocals are no match for Ben E King's.
Fortunately I'm not on drugs. Just my opinion. Lennon turned this song into a 'rock' song in much the same way as the Stones did with Just My Imagination and Ain't Too Proud To Beg.
Re: Cover versions that outperform the original
Posted by:
Elmo Lewis
()
Date: November 3, 2015 18:03
Quote
GasLightStreet
I'm not going to included live recordings as cover versions since it seems that should be studio recordings for an album. It's too easy. Any Chuck Berry tune the Stones covered live is easy to say.
So on that note...
The Cult covering The Sensational Alex Harvey Band's Faith Healer.
John Lennon - Ain't That A Shame
Elmore James - Dust My Broom
Johnny Cash - Hurt
Willie Nelson - For The Good Times
Willie Nelson - Loving Her Was Easier (Than Anything I'll Ever Do)
Willie Nelson - Sunday Morning Coming Down
The Rolling Stones - Stop Breaking Down
Also, Cheap Trick's "Ain't That A Shame" which borrows heavily from Lennon's version.
"No Anchovies, Please"
Re: Cover versions that outperform the original
Posted by:
LeonidP
()
Date: November 3, 2015 19:30
The Inmates ... anyone ever hear of them? They did a great version of Jagger/Richards "So Much In Love". Not sure if a Stones version exists, on any bootleg -- if so, I've never heard it. Anyway the Inmates version most likely kicks the Stones version's ass!
[www.youtube.com]
[www.youtube.com]
Re: Cover versions that outperform the original
Posted by:
terry
()
Date: November 3, 2015 22:26
Has anyone mentioned Melanie cover of ruby Tuesday
I think Melanie version just eclipses the stones version a great vocal by Melanie
I think Melanie version just eclipses the stones version a great vocal by Melanie
Re: Cover versions that outperform the original
Posted by:
Eirik
()
Date: November 3, 2015 22:31
Doesn't outperform the original but this is a great cover version:
Oasis - Street Fighting Man
Oasis - Street Fighting Man
Re: Cover versions that outperform the original
Posted by:
NICOS
()
Date: November 3, 2015 22:41
Quote
terry
Has anyone mentioned Melanie cover of ruby Tuesday
I think Melanie version just eclipses the stones version a great vocal by Melanie
Your right........
__________________________
Re: Cover versions that outperform the original
Posted by:
MacLaurens
()
Date: November 3, 2015 23:19
Quote
Eirik
Doesn't outperform the original but this is a great cover version:
Oasis - Street Fighting Man
Their cover of My Generation is also great.
Edited 1 time(s). Last edit at 2015-11-03 23:19 by MacLaurens.
Re: Cover versions that outperform the original
Posted by:
Happy Jack
()
Date: November 4, 2015 07:13
The Stones version of Around and Around is excellent, and much better than Chuck's (IMO their best cover).
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