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.

All I really want to do

Dylan and the Byrds are going head to head for the third time. So far there has been one tie: Chimes of Freedom, and one win for the Dylan: Spanish Harlem Incident. This time I’m choosing between their respective versions of All I really want to do. Oddly enough, all three of these songs were first recorded for the same 1964 album, Another Side of Bob Dylan.

Bob Dylan:

The Byrds:

All I really want to do is a fairly popular Dylan song, and probably one of the best known non-political sons, at least before going electric. The Byrds version was released as their second single in June 1965, and reached number 40 on the American pop chart and number 4 on the UK chart. It was also released on their debut album, Mr. Tambourine Man, which just so happens to be the same album the other 2 songs were on as well.

Okay, so the Byrds win this round. It’s all tied up.

I just really like the Byrds Harmonies on this one. Plus they made it shorter. I think I’ve said this before but I kind of like short song. They don’t give you time to get bored of them. I do really like the harmonica on Dylan’s version, but I’m not a huge fan of that part where he tries to sing high on the chorus.

Dear Mr. Fantasy

Dear Mr. Fantasy is a song originally recorded by Traffic for their 1967 album Mr. Fantasy. The words were written by Jim Capaldi, and the music was written by Steve Winwood and Chris Wood. The album made it to number 16 in the UK and number 88 in the US. It’s probably also notable that Dave Mason left the group before the album was release, yet three of his songs appear on the UK version, three on the US version (each release has a slightly different track listing). It’s been covered by several bands including the Grateful Dead, Jimi Hendrix, and Crosby Stills Nash and Young.

Canadian group Big Sugar covered the song in their 1995 EP, Dr. M.F. The song was released as a single in Canada and reached the number 59 spot on the Canadian pop charts.

Traffic:

Big Sugar:

I know, I know, I keep doing long songs. It’s not on purpose I promise. I totally pick these based on impulse. I know 5 minutes (and we have to do it twice) is a really long time so sit and actively listen to a song, but we’ve got to do it. So let’s just grit our teeth and bear it.

Okay. This was way easier than I thought. The 90s took a crap all over Big Sugar’s version. So I’m clearly picking Traffic’s to win. It’s got the Winwood Solos and the Harmonicas. You can’t go wrong. Even Winwood’s voice. Rolling Stone said, "[Winwood] probably [has] the major blues voice of his generation." They loved the album Mr. Fantasy. I don’t know if I’d go that far. He sings real good (well) though. Keep in mind I’m really bias and a total jerk though. So if you really love big sugar and you think their version is the best, and you didn’t even know that it was a traffic song before this, don’t be sad, I’m sure you are one among many who think the same thing. You guys are just wrong, and that’s okay.

20th Century Boy

T. Rex released 20^th Century Boy as a single in 1973. The song is written by T. Rex front man Marc Bolan. In the early 70s T. Rex was arguably the biggest band in the UK with a sting of 8 top 20 hits. During that time the mania that surrounded T. Rex was referred to as T. Rextasy, and was often compared to the mania that surrounded the Beatles. Despite that success, they never really got over in the US. The exception to that being the single Get It On (Bang a Gong), which reached number 10 state side. 20^th Century Boy peaked at number 3 on the UK singles chart. It wasn’t originally included on an album, but appears on a reissue of the 1973 album Tanx. It charted again in the UK in 1991 when it appeared in a Levis ad starring Brad Pitt. I think that’s the second time one of the songs I’ve featured has charted for a second time because of a Levis ad. Seems like pop music and advertising do go together. Who would have known? They’re used so rarely in ads these days.

20^th Century Boy has been covered by a whole bunch of people since its release. I’m featuring the Replacements version. It was included as B side on the single I Will Dare, along with a cover of Hank Williams’s Hey Good Lookin’. It also appears as a bonus track on the 2008 reissue of the 1984 album Let It Be. A critically acclaimed album, Let It Be has received several accolades over the years. In 2003 Rolling Stone ranked it the 239^th greatest album of all time, and called it a post-punk masterpiece. In 1989 Rolling Stone ranked it number 15 on their best 100 albums of the 80s list. When VH1 did its miniseries, VH1's 100 Greatest Albums of Rock and Roll they ranked Let It Be number 79. There’s more, but I feel like I’m starting to overdo it. Anyway, it’s an awesome album. You should probably check it out.

T. Rex:

The Replacements:

I totally like both versions of this song, but it’s pretty clear to me that the T. Rex version is better. I'm a huge fan of both these bands. Check them out if you haven’t. T. Rex’s Born to Boogie is one of the best rock and roll DVDs you can buy.