Covering the Covers

             Sometimes, a little shopping can get the mind working.

           

            While shopping at the Lexington Co-Op Sunday, I noticed that the music they were playing appeared to be a recording of cover songs by a female with a relatively high-pitched voice. The first song I heard was a version of Junior Murvin’s “Police and Thieves,” and the second song was a cover of “Clean Up Woman,” a major hit for Betty Wright in 1972. Sadly, the main reason I took such note of these songs was how poor the cover versions were; Junior Murvin may have a relatively high-pitched male voice, but there was virtually no feeling or passion in either of these versions.

            I have not been able to discover who performed these covers (whether the same person or different singers), but besides sounding like weak versions to me, they both have the problem of covering songs that to my ears have already received classic cover interpretations. Many music fans are familiar with the Clash’s classic/iconic cover of “Police and Thieves” on the band’s legendary self-titled album (Murvin reportedly hated their version), and the Pine Dogs covered “Clean Up Woman” live with a great deal of soul and fun.

            Of course, these judgments are opinions, but I have never hesitated to think mine correct, as us fine, public serving music critics always do. But while there may be no rules for cover songs, besides there being way too many to start with (and the same for movies), I would say that being yourself and not trying to sound like someone/something else is a good start. Junior Murvin may not like the Clash cover, but if the band had tried to sound like Robbie and Sly or even Pablo Moses, it would have been a mistake; sounding like an English punk band that enjoyed (and in bassist Paul Simonon’s case, was fanatical about) reggae and dub music is really all the Clash could do. The Pine Dogs did not try to sound like a Motown band or overdo the funk, but added their country/roots rock feel to a funky song like “Clean Up Woman.”

            There are other strings of discussion from this topic, including when bands record all-cover albums or even a tribute record (I admit I have a personal favorite in Tony Bennett’s tribute to Frank Sinatra and his romantic songs, “Perfectly Frank”). These types of recordings run the gamut from great to horrible, from background music to stop what you’re doing, sit down and listen and so on. The most inconsistent type of record is the tribute recording performed by a group of singers, bands and what not; great songs do not always create great recordings, as even tributes to Peter Case, Cole Porter, Alejandro Escovedo, Irving Berlin and Neil Young prove.

            This appears to be an ongoing issue that I will no doubt address to you fine readers from time to time here; please feel free to leave your thoughts in the comment section.