In keeping with the theme of my last post and my recent 90s kick, it was only a matter of time that there would be the inevitable Under Cover: Awesomely 90’s Edition. This week I feature songs released in the 90s by musicians Kylie Minogue, Alice In Chains, and James that are either super-awesome on their own or have super-awesome covers that surpass the originals. Good thing indie rockers have a hankering for 90s rock, too, since José González, Ryan Adams, and Matt Nathanson have put out some really amazing renditions I couldn’t help but share. Enjoy!
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Kylie Minogue - “Hand On Your Heart” (original, 1989) Get out your scrunchies and jelly sandals! Okay, so this one technically came out in 1989, but why split hairs? Australian teen singing sensation Kylie Minogue is an interesting case. She first came onto the scene with “The Loco-Motion” remake (don’t act like you don’t remember all the words to this one), put out a string of forgettable teeny-boppery hits that were even more popular abroad, but then later morphed into this full-blown sexpot to be mostly worshiped by Europeans and/or gay men. I’ll excuse Kylie for “Hand On Your Heart” since she matured into a capable dance music songstress with a repertoire of infectious tunes like ”Out Of My Head” (superhot video), ”Come Into My World,” (neat video) and “Love At First Sight” (great falling-in-love tune) that I still wholeheartedly love to this very day. So, what’s the deal with this one, Kylie? It’s sugary bubblegum pop that’s not even bad-in-a-good-way or remotely listenable in this day and age. I’ve decided to pardon this musical crime since it did come out 20 years ago and she clearly didn’t know any better. Her lyrical message may even be profound, but I wouldn’t know because I can’t get past the awful music to even decipher it. After ascertaining through lyrical analysis that this song is about the heartbreak associated with ultimatums and a flailing relationship, I’m even more confused since the music is so upbeat. Umm, what? And who, may I ask, is the supposed trackmaster who came up with the beat? The same people who created Rick Astley’s “Never Gonna Give You Up?” Tsk tsk. Kylie Minogue
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“Hand On Your Heart” José González cover (2007)Does anyone know how to say “absolutely breathtaking” in Swedish? If P Diddy invented the remix, then I’d say José González is well on his way to reinventing the cover song. As fellow PopWrecker Jeff said in his review of Mark Kozelek’s newest LP, “When he covers a song, he doesn't just pick up a guitar and play, he smashes the source material into dust and then puts the pieces back together in an odd and delicate way until it becomes something often times deeper and more profound than the initial conception.” I think these sentiments hit the nail on the head for González, as well, with this acoustic rendition. It stands on its own beautifully and almost sounds like a completely different, albeit better, song! I bet some indie kids have no idea he is even playing a cover and are likely to gasp when they find out that Kylie Minogue sings the original (especially after they hear her relatively worse version). And who can’t help but feel like crying when José González sings “You know it’s one thing to say you love me / But another to mean it from the heart / And if you don’t intend to see it through / Why did we ever start?” Not since Ben Gibbard of Death Cab For Cutie have I heard such innocent, pure, genuine, plaintive male vocals that really tug at my heartstrings with every lyric uttered. Unlike Minogue’s version, González actually makes the listener aware of the urgent emotional nature of the song and the singer’s final plea to their significant other to save the relationship. ”I won’t believe you til you put your hand on your heart and tell me that it’s over / Look me in the eye and tell me we are really through.” Oh, man. Someone please give José a hug for me! He does “Hand On Your Heart” a giant favor since the gentle strumming and softspoken vocals really capture a beautiful sadness that it truly deserves. José González - “Hand On Your Heart” (Kylie Minogue) —– Alice in Chains - “Down In A Hole” (original, 1992) Why doesn’t Alice In Chains ever get the respect they deserve in cultivating that inimitable, yet-to-be-replicated, 90s Seattle “grunge” sound I love so much? It wasn’t only about the Nirvana, Pearl Jam and Soundgarden trifecta, people! Am I the only person who experienced tingles the first time they heard that genius bassline during the intro of “Would?” or saw lead singer Layne Staley (may he rest)wail into that microphone in its video? Man, that shit still holds up. Anyway, “Down In A Hole” off Dirt is one of their best and “prettier” songs that still deals with their usual themes of despair, suicide, and drug addiction. Basically, real and serious personal problems that can’t exactly be fixed with a leisurely trip to the Space Needle. Funnily, not many other bands can write brooding melodies with exceedingly dark overtones in such a poetic way (“Bury me softly in this womb / I give this part of me for you / Sand rains down and here I sit / Holding rare flowers in a tomb”). With Staley’s snarl and guitarist Jerry Cantrell’s moody yet soft vocals, they create incredible harmony that mesh perfectly with downtrodden guitar riffs and a musical aura of hopelessness and ubiquitous gloom. AIC is one of my favorite all-time bands of the 1990s and I regret never seeing them live during their heyday, but at least they still put out some killer albums for repeat listening. And if you dig this version, check out their MTV Unpluggedacoustic rendition as it’s a gorgeous take on an already amazing original piece of music. Some may argue that Nirvana’s Unplugged album was the best of that series, but overall I’d be so brazen to argue Alice In Chains’ album may just be marginally better. Yep, I dare say. Alice In Chains - “Down In A Hole” Ryan Adams & The Cardinals cover (2007) Alt-country’s most prolific and prodigal son, Ryan Adams, just doesn’t know when to stop… and, hey, I’ve got no complaints! In fact, he churns out like fifty albums a year and I’m sure he’s completed a new EP in the time it takes you to finish reading this post. Speaking of EP’s, Adams decided to throw in an Alice In Chains cover and put out his own country-fied rendition of “Down In A Hole” for his Follow The Lights EP. In this slower-paced, less intense version, he replaces Layne Staley’s signature snarl-meets-scream with his own fusion of bluesy yelps and croons that perfectly mesh with a capable backing band, complete with electric guitars, pedal steels, pianos, soft percussion, and soulful back-up singers. I’m not surprised he chose to tackle this song since Adams is no stranger to drama, personal issues, and alleged substance abuse, but I hope he’s aware that he looks like Richie Cunningham compared to the once truly troubled Staley who ultimately lost his life to his battle with heroin. But Adams’ lack of bleakness here does not detract from a unique rendition that sheds an interesting, new light on the original. In fact, his version makes “Down In A Hole” sound more about a song that deals with confusion, feeling low, and not quite knowing what to do or where to go from here. Besides, as any longtime fan of Ryan Adams can attest, these themes are what he himself knows and sings about best. Ryan Adams - “Down In A Hole” (Alice In Chains) —– James - “Laid” (original, 1993) Oh man, where do I start with this rock gift that just keeps on giving with each listen! This song is hysterical, smart, simply genius, stimulating, risqué, addictive, and absolutely nuts. Basically, all the adjectives I prefer to describe anything I’m usually into! Quite possibly one of the best songs to hear on the jukebox at your local tavern circa last call, some may prefer the obligatory drunken sing-along to Chumbawamba’s “Tubthumping,” but I’ve always been partial to “Laid” because it’s sillier listening to intoxicated people trying to hit the high notes during “preeettttyyy.” They never do, but still manage to hit the mark because no one cares since the song kicks ass. One of James‘ few hits to reach American audiences, it’s been rumored to be about a man’s issues with facing transvestite desires (“dress me up in women’s clothes, messed around with gender roles, line my eyes and call me pretty”), but I highly doubt it considering it’s titled “Laid.” I prefer the commonly accepted interpretation of a passionate, sexual relationship with no hope outside the bedroom (“this bed is on fire with passion and love, the neighbors complain about the noises above”), a can’t live with/can’t live without you situation that’s hard to escape (“my therapist said not to see you no more, she said you’re like a disease without any cure”), a relationship with a nymphomaniac, control-freak, quintessentially psycho girlfriend (“but she only comes when she’s on top”) who enjoys emasculating her dude (see above: “women’s clothes” lyric) and all the frustration that accompanies such obsessive passion and perhaps BDSM (“Fought with kitchen knives and skewers”). The best part is the witty retort “Ah, you think you’re so pretty.” It’s the coolest verbal bitch-slap, stay in your place, deflate-that-ego-now, get over yourself diss to tell a truly irritating [female] love interest. Overall, it’s a simple, quick rock ditty that’s fun to sing along to, but it’s the lyrics and vocal delivery that make this song remarkable. You can totally hear the frustration in lead singer Tim Booth’s voice and his words perfectly capture the madness and sweet hell that love can sometimes create. My favorite part of the song is the: ”I bought a new house, so you moved next door / I locked you out, you cut a hole in the wall / I found you sleeping next to me, I thought I was alone / You’re driving me crazy, when are you coming home.” Everytime I hear that verse I smile to myself and seriously wish I’d written it in this life (and not just a past one) because it’s just so effin awesome. And if you’re into hysterical music videos, I urge you to check it out. You may end up appreciating “Laid” more, if that’s even possible. James - “Laid” Matt Nathanson cover (2003)This version is so cute! You may recognize this one from the American Wedding soundtrack back in the day, as well as being the de facto theme song in the trailers for all the dozens of other crappy American Piepresents… movies and subpar spinoffs that followed. Matt Nathanson took a classic 90s rock gem and performed an elegant cover that adds a sunnier tone and some poppiness to perk things up a tad. I believe I even hear some cellos? They are a surprise addition that lace in a little sophistication with the overall upbeat and updated sound. I must say “nice job,” since it works and I truly dig this cover. With all the additional pep, it could never outshine the perfection of the original but I think he’s aware of that impossibility and isn’t trying to steal James’ thunder at all. I also get the impression he really enjoys this song and merely wants to put his own little fun spin on “Laid,” which results in a longer version with the addition of a pretty musical outro that is not present in the one before. My only complaint, if this even qualifies as one, is that this rendition totally lacks the snarky quality of the original. There’s no sense of cheap shots, low blows, or jabs at an annoying significant other here in Nathanson’s tone. Honestly, he doesn’t even sound annoyed which sort of is what makes the original so brilliant and, well, funny and allows the singer’s frustration to ring true. Either way, I still consider this a successful cover song I could happily hear over and over, due to my love of “Laid,” in general, as well as Nathanson’s fantastic interpretation. And hey, even if you disagree with me here you’ve got to at least give him credit for totally nailing those high notes required for that ”preeeeetttyyyyy” part. Just plain awesome. Matt Nathanson - “Laid” (James)
The Ting Tings played a secret show in Manchester on February 27th for the Adidas Campaign they are a part of. Check out the footage here!
Tour Dates: Mar 15 - Williamsburg Music Hall / Brooklyn (SOLD OUT) Mar 16 - Terminal 5 / New York City Mar 18 - Paradise Rock Club / Boston (SOLD OUT) Mar 19 - Starlight Ballroom / Philadelphia (SOLD OUT) Mar 20 - 9:30 Club / Washington DC (SOLD OUT) Mar 21 - Cat's Cradle / Carrboro, NC (SOLD OUT) Mar 26 - Jack Rabbits / Jacksonville Mar 28 - The Social / Orlando Mar 29 - Orpheum / Tampa (SOLD OUT) Mar 31 - Club Downunder / Tallahassee Apr 02 - Workplay Theater / Birmingham Apr 03 - The Pagaent / St. Louis (SOLD OUT) Apr 05 - Metro / Chicago (SOLD OUT) Apr 06 - Varsity Theater / Minneapolis (SOLD OUT) Apr 07 - Record Bar / Kansas City (EARLY SHOW) Apr 07 - Record Bar / Kansas City (LATE SHOW - SOLD OUT) Apr 08 - Blue Bird Theater / Denver Apr 09 - Urban Lounge / Salt Lake City Apr 11 - Commodore Ballroom / Vancouver (SOLD OUT) Apr 12 - Crocodile Cafe / Seattle (SOLD OUT) Apr 13 - Douglas Fir / Portland (SOLD OUT) Apr 15 - The Fillmore / San Francisco (SOLD OUT) Apr 17 - Coachella / Indio, Ca.
Texas dove Bosque Brown (a.k.a. Mara Lee Miller) has a voice that can only be compared to the comfort that one finds in a pillow. Mara Lee Miller ’s voice is as soft as the flowing river that Bosque Brown is named after. However, this is not the sort of soft that we are all used to, but a pure southern, raspy softness, which is nothing short of beautiful.
Four years after their first record, Bosque Brown has released its second album, Baby. Having lived in Texas my whole life, I know oil when I see it, and after listening to all thirteen tracks of Baby, I know I have struck it. With a voice like that of Norah Jones (and what sounds like a female version of Thom Yorke), Mara Lee Miller paints such beautiful pictures with her singing.
The songs, “On and Off (part I)”, “On and Off (part II)” and “On and Off (part III)” are testaments to how versatile and elegantly she can use her voice with no help from background music. The first track, “White Dove” is a beautiful song about rising up and shedding the little things.
Not only is the singing a masterpiece, but the lyrics in the song are just as immaculate. This holds true for all of the songs that Bosque Brown has on Baby.
Baby is available now on Burnt Toast Vinyl.
Tracklisting: 01. White Dove 02. Went Walking 03. So Loud 04. On and Off (part I) 05. Texas Sun 06. Whiskey Flats 07. On and Off (part II) 08. Train Song 09. This Town 10. On and Off (part III) 11. O River 12. Phone Call 13. Soft Love
Congratulations to James Smith from Phoenixville, PA, winner of the Longwave tickets when the band passes through Philadelphia’s TLA on Friday night with OK Go.
If you missed out on Jimmy Eat World’s totally, 100% sold out Clarity Tour, of if you want to relive what was probably the greatest (or at least most nostalgic) concert of your life, you can purchase Clarity Live, a digital only release, on April 7th, available exclusively on Jimmy Eat World’s website. Clarity Live will feature DRM-free MP3 and lossless format options, as well as a digital booklet featuring photos from the tour.
Clarity x 10 was conceived as a series of ten one-time-only shows during which Jimmy Eat World would commemorate the 10th anniversary of its 1999 masterpiece Clarity by playing the record in its entirety each night. The ten shows began February 23-the 10th anniversary of Clarity’s actual release date-at Terminal 5 in New York and will conclude with a March 7th homecoming at the Marquee Theater in Tempe, Arizona.
In keeping with the direct-to-fan relationship that sustained Jimmy Eat World in the wake of Clarity’s underwhelming 1999 release, the band allowed fans access to pre-tour rehearsals via a live stream at Ustream.tv. The band/fan dialogue has continued through the tour with band members actively using Twitter to provide updates from the road (see photos at http://twitpic.com/photos/jimmyeatworld ) and fans’ “tweets” about specific shows appearing on the band’s Clarity website at http://tour.jimmyeatworld.com/.
It seems appropriate that we should begin our new feature, “mp3 Minute” with Popwreckoning favorite Golden Bloom’s recently recorded minute long ditty, “Your Minute of Fame”. The idea for a Chicago-themed song came from a flight front man Shawn Fogel was on headed towards the Windy City for a gig. Temporary writer’s block hit after the first line (”Chicago snow is white and it glistens in the night sky as I look out the window of my plane“), until Fogel returned home to New York to hear about the scandal surrounding and arrest of Chicago governor Rod Blagojovich.
The upbeat instrumentation is a delightful contrast to the lyrical message: “Don’t say it’s not so bad / I think the governor’s gone mad; / he just compared himself to Gandhi and Dr. King.”
IfSince you like what you hear, we’d love to help you hear more of it! Popwreckoning has 3, yes 3!, signed 7″s from Fogel himself to give away to 3 lucky readers. Just leave a comment to enter to win!
And don’t miss the Golden Bloom at the Manhattan Room in Philadelphia on Sunday, March 29th with local rockers Canadian Invasion and New Jersey’s Sudden Ensemble for the Bag of Songs (blog friend to Popwreckoning) monthly residency showcase.
Tour Dates: Mar 19 - Fran’s Hamburgers / Austin (SXSW) Mar 27 - Bar Matchless / Brooklyn Mar 29 - M Room / Philadelphia
In a world where most people sound like broken tea kettles, Andrew Bird’s whistling is a breath of fresh air. In fact, everything about Bird is refreshing from his charismatic eyebrow raises to his leg twitches, from the warm, rich sound of his vibrato to his beautiful, crisp vocals.
Swedish songwriter Loney, Dear, aka EmilSvanängen, opened for Andrew Bird. Svanängen at first came off as a shy singer, but as his set progressed and the crowd became increasingly engulfed in his soothing vocals, he gained confidence. On the last song, Svanängen stepped to the side of his microphone and leaned out over the crowd to sing the final chorus. His powerful voice carried over the packed room even without the amplification of his microphone. The crowd ached for more. “Play more. Play 18 more,” shouted one concertgoer, causing Svanängen to flush. “That’s all we have. We have no more songs. We almost didn’t have these last two on the set,” Svanängen apologetically said. Based off the crowd’s reception to this band, I wouldn’t be surprised to see Loney, Dear back headlining in Omaha soon.
When the lights dimmed for Andrew Bird’s set, the Chicago artist emerged from the shadows all alone. Shadowed by the massive victrolas surrounding the set and the unique inclusion of a sock puppet monkey, Bird’s arrival on stage was very modest as he picked up his violin and began weaving an intricate web of loops.
As he alternated between a microphone for playing his violin and another for whistling, Bird seemed to sweep himself away in his own musical patterns. He was like a child at play on the stage. Bow in hand, he would raise his hand to tug on his hair; and like a marionette, each hair pull caused his right leg to flutter. The double-horns that the sock puppet monkey rested against always seemed to amuse Bird as he would flash a wide grin at the audience before turning his back on the crowd to watch the horns spin. The stage was his playground and Bird was genuinely happy to be up there.
Bird’s musical skills are undeniable and you were hard-pressed to catch a missed pitch at one of his shows. As a nitpicky violinist, it did drive me crazy how often his left hand collapsed against the neck of the instrument, but it never altered his full, warm tones. Occasionally Bird would speak to the audience in between songs, but most of his charm was in the way he acted toward the audience during his songs. He could go from singing or talking directly to the audience to forgetting they were even there at all. I am not sure what I found more appealing.
Broken bow hairs flying around Bird’s face couldn’t phase him during a stunning performance of “Imitosis”. For an encore, Bird played perhaps my favorite number, “Why?” “Damn, you for being so…so easy-going,” sang Bird and as if possessed by the spirit of the song, he really seemed to be questioning and cursing. Stretching a hand out, it seemed as if he was speaking directly to you and it was easy to forget that there were any other people in that sold out venue. As if his set wasn’t perfect enough, Bird showed what a caring musician he is by filling a crowd request and adding on “Masterfade”.
Though it was snowing when the show got over and the biting Omaha winds made the walk back to cars threatening, I think it is safe to say that everybody went home from that show with warm fuzzies.
Set List: Section 8 city Masterswarm Opposite day Natural disaster Effigy Oh no Fitz Nervous tic Not a robot Lull Anonanimal Imitosis Souverian Fake pals — Why?/Tables/Masterfade
Does anyone know how to say “absolutely breathtaking” in Swedish? If P Diddy invented the remix, then I’d say José González is well on his way to reinventing the cover song. As fellow PopWrecker Jeff said in his 
This version is so cute! You may recognize this one from the American Wedding soundtrack back in the day, as well as being the de facto theme song in the trailers for all the dozens of other crappy American Pie presents… movies and subpar spinoffs that followed. Matt Nathanson took a classic 90s rock gem and performed an elegant cover that adds a sunnier tone and some poppiness to perk things up a tad. I believe I even hear some cellos? They are a surprise addition that lace in a little sophistication with the overall upbeat and updated sound. I must say “nice job,” since it works and I truly dig this cover. With all the additional pep, it could never outshine the perfection of the original but I think he’s aware of that impossibility and isn’t trying to steal James’ thunder at all. I also get the impression he really enjoys this song and merely wants to put his own little fun spin on “Laid,” which results in a longer version with the addition of a pretty musical outro that is not present in the one before. My only complaint, if this even qualifies as one, is that this rendition totally lacks the snarky quality of the original. There’s no sense of cheap shots, low blows, or jabs at an annoying significant other here in Nathanson’s tone. Honestly, he doesn’t even sound annoyed which sort of is what makes the original so brilliant and, well, funny and allows the singer’s frustration to ring true. Either way, I still consider this a successful cover song I could happily hear over and over, due to my love of “Laid,” in general, as well as Nathanson’s fantastic interpretation. And hey, even if you disagree with me here you’ve got to at least give him credit for totally nailing those high notes required for that ”preeeeetttyyyyy” part. Just plain awesome. 
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