Muddy Waters' "Let's Spend The Night Together" is WAY > the Stones.
Marvin Gaye's Grapevine > Gladys Knight's.
listened to both a few nights ago. turned off Gladys about a minute in and chilled out to Marvin instead.
its just so solid. yeah, he drums in the gladys knight version are killer, but marvin just SLAYS this shit.
Marvin/Gladys COMBINED > Temptations.
I don't even see the need to compare, because both versions are drastically different. I'll go to Gladys & the Pips when I want the fire-and-brimstone version, and I'll go with Marvin's (even though I'm tired of it) for the subtle, brooding version.
But the Temptations version doesn't work. Norman Whitfield had already gone as far as he could go with "Grapevine" by the time he pitched it to the Tempts...you can tell that he and the group are TRYING to strike lightning a third time, with all these fancy riffs, but in the end it doesn't go anywhere.
I'd disagree with that in general (I find Donny awfully overwrought a lot of the time), and with regard to "Song For You" in particular. Willie Nelson's version absolutely kings every other version I've heard. The lyrics are already so stylized and so grandiose, and are already thisclose to being just too much--Donny's vocal rollercoastering (dig deep! soar high!) just kinda capsizes the whole thing. He doesn't seem real sensitive to the lyric or the feel of this one, and his bel canto theatricality gives a sense of "I've put on all of these shows, and now I'm putting on another one--listen to this." Willie's understated, fragile reading seems far more understanding and intimate--"For them, I Sing???, but for you...I'm singing."
I'd disagree with that in general (I find Donny awfully overwrought a lot of the time), and with regard to "Song For You" in particular. Willie Nelson's version absolutely kings every other version I've heard. The lyrics are already so stylized and so grandiose, and are already thisclose to being just too much--Donny's vocal rollercoastering (dig deep! soar high!) just kinda capsizes the whole thing. He doesn't seem real sensitive to the lyric or the feel of this one, and his bel canto theatricality gives a sense of "I've put on all of these shows, and now I'm putting on another one--listen to this." Willie's understated, fragile reading seems far more understanding and intimate--"For them, I Sing???, but for you...I'm singing."
I must agree with this.
I know that everytime somebody starts a Donny Hathaway appreciation thread, I am right in there giving him his props...when he was on his game, there was no doubt...but even so, he was at his showboating worst on some of those cover versions, all long and drawn-out and useless - like he's trying to impress us with his conservatory-trained chops. (His takes on "To Be Young, Gifted & Black" and "I Believe To My Soul" come to mind.)
I kind of think of "Light My Fire" as a standard - I don't really compare versions of it against the original, it just got done so many times in so many different ways. Cover versions of cover versions and shit.
I'd also like to go on record as saying that any insistence that a Bill Withers, Stevie or Beach Boys cover slays the original is on some complete and total rocksmoker shit.
I kind of think of "Light My Fire" as a standard - I don't really compare versions of it against the original, it just got done so many times in so many different ways. Cover versions of cover versions and shit.
most of the "L.M.F." cover versions ive heard were patterned after jose feliciano's (i think he was the 1st to slow it down)
very seldom do i hear a version modeled on the Doors' original
Now that I've heard it I can say that not only is the PP Arnold version of "God Only Knows" far inferior to the original, it's just straight up irritating (and I was kind of looking forward to hearing a different take on it too).
Now that I've heard it I can say that not only is the PP Arnold version of "God Only Knows" far inferior to the original, it's just straight up irritating (and I was kind of looking forward to hearing a different take on it too).
I like both versions, but still prefer PP Arnold's version...
*Quietly retreats back into private mind garden...*
Ayo I can understand felling Marvin's version more, but plaese to stop calling Gladys Knight "cookie cutter"
No doubt.
But id like to know if their version was THAT SHIT when it dropped. If it was THAT single how could Motown and them even think about tinkering.
Yeah I know they let the roster cover each others songs, but Marvin's more POP freindly version pretty much made Gladys and them strike it from their repertoire.
Even if that doesnt determine the better version.
This Motown classic about a man who finds out his woman is cheating on him was written by Norman Whitfield and Barrett Strong. Strong came up with the idea, and asked Motown writers Holland/Dozier/Holland to work on it with him. They refused to credit another writer, so Strong took it to Whitfield, who helped put it together.
Whitfield and Strong recorded this with Gaye in 1967, but could not convince Motown head Berry Gordy to release it. He chose Holland/Dozier/Holland's "Your Unchanging Love" over this as Gaye's next single.
When Gordy refused to release Gaye's version, Whitfield recorded it with a new Motown singer, Gladys Knight. He got her version released, and it became a #2 hit in the US, which led Gordy to reconsider and release Gaye's version.
Whitfield and Strong wrote several other Motown hits, including "Ain't Too Proud To Beg," "Just My Imagination," and "Money (That's What I Want)."
This is the longest running Motown #1 hit. It topped the US chart for 7 weeks.
This was Gaye's first #1 hit. He had another 5 years later with "Let's Get It On."
Creedence Clearwater Revival released an 11-minute version in 1970. It was one of the few songs CCR recorded that they didn't write.
In 1987, this got new life when it was used in commercials for California Raisins, with claymation raisins performing the song. In addition to boosting raisin sales, The California Raisins became an '80s fad, and were the most popular Halloween costume that year.
The version by Gladys Knight and The Pips was released first, but they were the fourth act to record it, after Smokey Robinson & The Miracles (who later released it on their Special Occasion LP), The Isley Brothers (their version is still unreleased) and Marvin Gaye. Gladys Knight & The Pips were surprised that Gaye's version was released so soon after theirs. They viewed it as Motown promoting Gaye over them and relegating them to second-tier status. (thanks, Brad Wind - Miami, FL)
Gaye sang this slightly higher than his normal range, which created the strained vocal. Whitfield, who produced this, made him do it over and over until he got it right. [/b]
Pips is the remake.
I like both versions.
I thought Gaye shared writing credits on IHITTGV. No?
The article above fails to state that Knight came to Motown after a string of hits for other labels. Makes it sound like she was just getting started.
Above we see how it fared on the pop charts. Lets look at the R&B charts. Knight: entered the charts 10/28/67 #1 for 6 weeks, 17 weeks on the charts. Gaye: entered the charts 11/30/68 #1 for 7 weeks, 14 weeks on the charts.
CCR's version sucks.
I don't think we can really call one of these the original and the other a cover.
Comments
Marvin/Gladys COMBINED > Temptations.
I don't even see the need to compare, because both versions are drastically different. I'll go to Gladys & the Pips when I want the fire-and-brimstone version, and I'll go with Marvin's (even though I'm tired of it) for the subtle, brooding version.
But the Temptations version doesn't work. Norman Whitfield had already gone as far as he could go with "Grapevine" by the time he pitched it to the Tempts...you can tell that he and the group are TRYING to strike lightning a third time, with all these fancy riffs, but in the end it doesn't go anywhere.
See, that's the beauty of this place. Each has his (or her) own opinion, and each knows that his (or her) opinion is the only one that is correct.
QFT, and on that note.
Use Me - Isaac Hayes > Bill Withers
Yeah but in this case, I think my opinion trumps yours...
I envy you your perpetual lack of self-doubt
I'd disagree with that in general (I find Donny awfully overwrought a lot of the time), and with regard to "Song For You" in particular. Willie Nelson's version absolutely kings every other version I've heard. The lyrics are already so stylized and so grandiose, and are already thisclose to being just too much--Donny's vocal rollercoastering (dig deep! soar high!) just kinda capsizes the whole thing. He doesn't seem real sensitive to the lyric or the feel of this one, and his bel canto theatricality gives a sense of "I've put on all of these shows, and now I'm putting on another one--listen to this." Willie's understated, fragile reading seems far more understanding and intimate--"For them, I Sing???, but for you...I'm singing."
totally disagree.
Nina Simone is killing all kinds of original versions! I'll add her cover of The Pusherman to the list.
I'm a fan of The Mirettes' version
Ken Boothe's Everything I Own
Shirley Bassey beats them all imo
Good call actually, found a disco 12 of that and it rocks
I must agree with this.
I know that everytime somebody starts a Donny Hathaway appreciation thread, I am right in there giving him his props...when he was on his game, there was no doubt...but even so, he was at his showboating worst on some of those cover versions, all long and drawn-out and useless - like he's trying to impress us with his conservatory-trained chops. (His takes on "To Be Young, Gifted & Black" and "I Believe To My Soul" come to mind.)
I'd also like to go on record as saying that any insistence that a Bill Withers, Stevie or Beach Boys cover slays the original is on some complete and total rocksmoker shit.
Feel the same way about the Flying Lizards version of "Money"
but less so about their version of Move On Up lol - I do like The Jam's version of MOU
This is a good one.
I wish I could hear Smokey's vocals over D'Angelo's instramental.
most of the "L.M.F." cover versions ive heard were patterned after jose feliciano's (i think he was the 1st to slow it down)
very seldom do i hear a version modeled on the Doors' original
Absurd. I like PP Arnold and that shit is corny.
-California Dreamin
-Got that will (although I think he helped write this)
-Hey Joe
etc.
Trippin. Still, each to their own.
I like both versions, but still prefer PP Arnold's version...
*Quietly retreats back into private mind garden...*
I like both versions.
I thought Gaye shared writing credits on IHITTGV. No?
The article above fails to state that Knight came to Motown after a string of hits for other labels. Makes it sound like she was just getting started.
Above we see how it fared on the pop charts.
Lets look at the R&B charts.
Knight: entered the charts 10/28/67 #1 for 6 weeks, 17 weeks on the charts.
Gaye: entered the charts 11/30/68 #1 for 7 weeks, 14 weeks on the charts.
CCR's version sucks.
I don't think we can really call one of these the original and the other a cover.
and speaking of "the first cut is the deepest" above, did anyone post the reggae cover of that? Absolute slayer.
Uh, the topic is cover songs that are better than the original ...
... not just "what are some cover versions of songs"
I point this out, because I'm certain there is no way you are saying
that the Gentrys version is better than the Neil Young OG.