Back in the USA

First released in 1959 as a single on Chess Records, Chuck Berry’s Back in the USA took the 37^th spot on the American Hot 100 and the 16^th spot on the American R&B chart. It also appears on the 1962 album More Chuck Berry. Berry supposedly wrote the song upon returned to the USA after a trip to Australia and witnessing the poor living standards of the Australian Aborigines. Which is a little ironic when you consider how America treated its aboriginal population after colonization.

The song has been covered by a few different people including Jonathon Richman and the Modern Lovers (bonus points if you’ve heard of them), and Linda Ronstadt, who can claim to have had the most commercial success with the song. Her 1978 album Living in the USA went double platinum.

The MC5 released their cover in 1970 on their second album Back in the USA. Though not a commercially successful album it has received notable accolades. In 2011 Rolling Stone ranked it number 451 on one of its 500 greatest album lists. NME Magazine placed it at number 490 on a similar list.

Chuck Berry:

MC5:

Close huh? It’s pretty tough. I think the like the vocals on Berry’s version better, but the MC5 really bring it on their version. I think I have to give the nod to them.

To love somebody

To love somebody was the second single released off of the Bee Gees debut album Bee Gees 1^st. Written by Berry and Rob Gibb, it was originally intended for Otis Redding who was killed in a plane crash before he was able to record it. I’ve heard that Bee Gees 1^st is considered a great record, and is often compared to the Beatles’ Revolver, but I have never listened to the entire thing myself. To love somebody was fairly successful making it on to the charts in several countries: it placed at 41 in the UK, 17 in the US, 9 in Canada, and 6 in Australia to list a few.

The Flying Burrito Brothers covered To love somebody sometime between 1968 and 1970 during the time Gram Parsons was still in their lineup. It remained unreleased until it was included on the 1974 compilation album Close up the Honkey Tonks, which was likely an attempt to capitalize on posthumous interest in Parsons' music. Parsons died in 1973 at the age of 26 from an overdose of morphine and alcohol. Interestingly enough, Otis Redding was also 26 when he died.

To love somebody has also been covered by several other artists including Michael Bolton, the Animals, Joe Cocker, Janis Joplin, and like 50 other notable ones.

Bee Gees:

Flying Burrito Bothers:

The Burrito Bros. win! Come on. They have Gram Parsons on vocals. What did you expect?

Part of me feels like that’s all I should have said about it, but another part of me wanted to write this paragraph. Depending on which part of me you prefer, you can choose not to read this one: I like how the FBB gave their version a classic country sound, but what really gets it over for me, is that Parsons empties his soul into it. He really sounds heartbroken. They took the song to another level. I do like the Bee Gees version, but I'm not a fan of the string arrangement that is included in it. It’s too much.

1970

This time I’m featuring 1970 by the Stooges. This is probably the least accessible song that I’ve featured so far. I think that I can fairly say, it’s something you’re either going to love or hate. Released in 1970 on the Stooges’ second album Fun House, an album that has been both Panned and praised by critics.

One quote I liked is from Robert Christgau. He said, “Now I regret all the times I've used words like 'power' and 'energy' to describe rock and roll, because this is what such rhetoric should have been saved for. Shall I compare it to an atom bomb? A wrecker's ball? A hydroelectric plant? Language wasn't designed for the job.”

In a funny coincidence, the album was produced by Don Galluci, the keyboardist for the Kingsmen, one of the bands featured in the last post. Fun House wasn’t a commercially successful album upon its release. However since then, it and the Stooges have developed a rather strong following. Both the band and the album are considered important to the development of punk rock.

In 1977 the Damned, the first UK punk band, covered 1970 on their debut album Damned Damned Damned. The Damned changed the name of the song to I feel alright. I’m not really sure why they changed the name, but I think it’s probably a really punk thing to have done. Like Fun House, Damned Damned Damned was not very successful upon is initial release, but has since become popular with modern critics.

The Stooges:

The Damned:

I think the Stooges clearly win. They have the crazy saxophone, and well, really everything about their version is crazy. It’s desperate and wild. It’s rock and roll pushed to the brink. The damned’s version is pretty good. They do some neat stuff, but it just can’t compete with the intensity the Stooges bring with 1970.

Fun House is really best enjoyed as a full album. It really creates an amazing atmosphere. The music is almost tangible. Except maybe LA Blues. That’s really just the band spiraling out of control and self-destructing at the end of the album. I mean it’s the perfect way to end such a fervent album, but it is not for everyone.

Damned Damned Damned is really good too, it has some weak moments, but the strong songs, like New Rose, Neat Neat Neat and Fan Club are great. And let’s face it, not every really good album is really good all the way through.

Louie Louie

Congratulations, it turns out that this November has accumulated the most views out of any month ever for my blog. I’m not really sure how that happened. I’d just like to thank you all for your hard work. Together we have earned an arbitrary achievement. Well done everyone!

Apparently this song is the most covered song of all time. I don’t actually know if that’s true. Wikipedia said it has been covered 1,600 times and counting. That seems like a large number. Previously, Stand by Me was the most covered song I had included in the blog. It was listed as having 400 covers, but apparently 7 million performances. 7 million is a lot (but not really. A lot is a piece of property).

I’m pretty sure most people are familiar with this song. Louie Louie by the Kingsmen. What I think most people don’t know, is that the Kingmen’s version is a cover. I didn’t, but someone did. Just to illustrate how frequently the Kingsmen’s cover is mistaken as the original, when you do a YouTube search for their version the second search suggestion that comes up is the Kingsmen Louie Louie original.  

The original version was written by Richard Berry sometime between 1955 and 1957, when the song was released. The song’s full story is actually really interesting. Berry’s version was originally released as a B-side and became popular on the West Coast, and was later rereleased as an A-side. It didn’t appear on any Billboard Charts, however.

The Kingsmen covered Louie Louie in 1963. Their version peaked at number 2 on the Billboard chart, and spent a total of 16 weeks in the top 100.

Originally I had planned to include the Beach Boys version, but after listening to Berry’s version I decided to use it instead. The Beach Boys cover is much like the original in structure. I still thought it was worth mentioning. If you’d like, you can listen to it, and compare it to the other two. It would be like a blog post in your own head. Or if you’re feeling especially critical, you can even post a comment and say what you think.

Richard Berry:

The Kingsmen:

I totally thought that I was going to be super sick of the Kingsmen’s version, and that it would be an easy choice. It’s really not though. You can understand the words in Berry’s version so that earns it points, but the Kingsmen rock the song so hard. Their version has such a strong opening, and their singer has got a pretty decent rock and roll scream. I think the Kingsmen win this one. Even considering how over exposed their version has been over the last 50 years. Berry’s version is good too, and it can be a welcome change to the familiar.

4th of July, Asbury Park (Sandy)

4^th of July, Asbury Park (Sandy) first appears on Bruce Springsteen’s second album, the 1973 release The Wild, The Innocent and The E Street Shuffle. There were no singles released from the album; however, Sandy and Rosalita, became fan favorites, and received radio airplay prior to the release of 1975’s Born to Run. Sandy was released as a single in Germany in 1975.

The Hollies recorded Sandy as a single in 1975, and included it on their album, Another Night. Their version only received minor airplay, and only reached the 85^th spot on the American pop chart.

I'm a fairly big Springsteen fan, but Sandy was never really one of his songs that jumped out at me. I always preferred songs like E Street Shuffle and Rosalita when listening to Wild and Innocent. I actually got the idea to feature this song after listening to the Hollies cover and really enjoying it. I've never listened to them back to back before, so I'm interested to see what the outcome will be.

Bruce Springsteen:

The Hollies:

Yeah I know, it’s another super long song. Sorry about that. It’s totally worth listening to though.

Okay, so this song is super good. I know it’s all slow and stuff, and it’s long. But seriously, it’s so poetic and it’s a great story. It paints a great word picture. I should have loved this song way sooner. It’s going to be another tough decision. The Hollies have awesome harmonies and a string arrangement, and Springsteen has the accordion. I'm not exactly sure whether those last two things are positive or negative qualities of their perspective versions. As close as it is, it’s not really hard to choose. Springsteen wins. His performance is so emotional. It’s like he’s living the song while he sings it. That just makes me believe in the song so much more.

Carol

Chuck Berry first released this original song in 1958. It peaked at number 18 on the American pop chart and number 9 on the R&B chart.

The Rolling Stones covered it for their self-titled debut album. There was also a version recorded on the 1970 live album Get Yer Ya-Ya’s Out! featuring Mick Taylor on guitar.

Carol has been covered by several other notable bands whom I won’t make note of here.

Chuck Berry:

The Rolling Stones:

This is the second time the Stones have been featured. The first time was for the song Mercy Mercy. They won that one. They win this one too. Don’t get me wrong it’s really close. I think the lead guitar is stronger on Berry’s version. But I kind of like how they sped it up and Mick (I’m assuming it’s Mick) clapping his hands is great. Also there is this weird rattling in the background of Berry’s version. As far as I can tell it’s supposed to be there, but I have no idea what it is, and it drives me nuts. Don’t get me wrong though I do like Berry’s version. Oh and the Stones have this version too (seriously, if you listen to any of these listen to this one). It’s really hard to top 1969’s Super-Mick.

You've really got a hold on me

Recorded in 1962 by the Miracles, Smokey Robinson’s You've really got a hold on me was a huge hit in the winter of 1962. It peaked at number 8 on the Billboard Top 100 and number 1 on the R&B chart. Originally the B-side to the song Happy Landing, You've really got a hold on me was made into a hit by Deejays who flipped the record over. It was the Miracles second single to sell over a million copies.

This will be the second time the Beatles will be featured as a team. They recorded You've really got a hold on me on their second album, With the Beatles. They recorded it over 7 takes in 1963.

The Miracles:

The Beatles:

So Smokey’s version is pretty awesome. The Beatles’ version is pretty awesome too. Smokey’s vocals are great and hits all those wicked high notes. John does a really great vocal on this one too. And he does that thing on the second chorus when he says “hold… on me.” That’s super awesome. This one’s going to be really tight. (Ha. See what I did there?) Anyway, I'm giving this one to the Beatles. I know that you can totally find actual live footage of Smokey ripping this song to pieces on the internet. But I have this arbitrary rule that dictates that I only compare studio versions with other studio versions. Except for those times that I broke it.

Anyway, this is now the second time the Beatles have won, while covering someone else’s song. Now I don’t want to be rash and get too far ahead of myself, but this won’t be the last time the Beatles will be featured, and I have a feeling they’ll be going on a terror. And you’re probably saying, “But A.J. you write this stupid thing. You know who’s going to win before you even start.” That’s not true faithful reader. I admit I often have an idea who will win; I have listened to most of these songs before. However, I never make the final decision until I've listened to both versions back to back. Often it takes more than one listen before I can decide. Now, I will even admit one more thing to you. Sometimes my preconceived ideas of who I expect to win, combined with my utter disdain for ties, can slightly influence the outcomes. This is the result. 

Tin Solider

The Small Faces released Tin Solider in 1967. Steve Marriott had originally written the song for P.P. Arnold, but after he finished writing it Marriott decided the song was too good to give away. P.P. Arnold, not one to be bitter about the ungifting, can be heard singing background vocals on the track. The song was actually banned when the line “I want to sit with you” was mistaken by the BBC as “I want to sleep with you.” It is one of the most well-known songs the Small Faces has in their catalogue. It reached the ninth position on the UK singles chart. Also of note, the publication Mojo Ranked Tin Solider the 10^th best single of all time. That beats out any of the singles released by the Rolling Stones or the Who. Not too shabby.

This is the first time I've featured the Small Faces, but I have featured the Faces, a another incarnation of the band, after a change in their line up resulted from Steve Marriott Leaving and Rod Stewart and Ron Wood joining in his place. Prior to that Wood and Steward were both playing in the Jeff Beck Group, whom I have also featured. Ha. It’s like I just did three degrees of Jeff Beck, or is that two degrees.

Anyway. A bunch of bands have covered this song. Even Humble Pie, another Marriott band. Today, will be looking the Streetheart’s version.

Streetheart is Regina/Winnipeg band whose popularity peaked during the mid-70s and early 80s. They are currently still touring. I think. Streetheart Recoded Tin Solider for their 1980 album Drugstore Dancer. It’s one of their most popular songs. That’s literally all I could find out about their version.

Small Faces:

Oh man. Street Heart is really going to need to bring it.

Streetheart:

Wow, Streetheart’s is pretty good. This is harder than I thought it would be. But I just think that Marriott’s vocals are stronger. Sorry Kenny. It’s still a real strong effort. I was impressed. I should also probably mention that I really like Marriott’s sing yell. I personally think it’s one of the best in all of rock n roll. I see Streetheart also decided to go with “sleep with you at the end.” Really close though. Good job everybody.

Drown in my own tears

Drown in my own tears was written by Henry Glover. It was recorded by Ray Charles in 1956. It was first recorded in 1951 by Lula Reed, so this will be another post that doesn't feature the first actual recording of the song. Drown in my own tears is a single from Ray Charles’s Atlantic period. A time when Charles was dominating the R&B and Jazz charts.

Aretha Franklin recorded her version of the song for the 1967 album I Never Loved a Man the Way I Love You.

Ray Charles:

Aretha Franklin:

This is the first time I've featured Ray Charles, and the second time I have featured Aretha. The first time I featured her she lost dubiously to the Band, on the Weight. She probably, could have, and maybe she should have won that one. But hey, I'm not perfect.

This one is a pretty tough decision. Both songs start off really strong, but in the last minute or two, I feel like Aretha’s version takes a bunch of liberties, and overall I prefer Ray’s version. So it looks like Aretha has lost again. Well, that’s just not right.