Archive for the ‘Cover Songs’ Category

The much-acclaimed 1944 MGM musical Meet Me in St. Louis spins the tale of a St. Louis family from summer 1903 to spring 1904. A posh production helmed by Vincente Minnelli, it’s at once nostalgic and not, dreamy and dour, with most of the songs dating to the early 1900s or before. However, the film is spiced by a handful of new tunes by songwriters Hugh Martin and Ralph Blaine: “The Boy Next Door,” the Oscar-nominated “The Trolley Song” and a song that’s since become a seasonal classic, “Have Yourself a Merry Little Christmas.”

This NPR/Fresh Air page delves into the song’s history; this Wikipedia page does, too. But if you choose not to click through, what you really should know is this: Martin’s and Blaine’s first version was rejected by Judy Garland, co-star Tom Drake and Minnelli. As Martin explained to Fresh Air host Terri Gross in 2006, “The original version was so lugubrious that Judy Garland refused to sing it. She said, ‘If I sing that, little Margaret will cry and they’ll think I’m a monster.’ So I was young then and kind of arrogant, and I said, ‘Well, I’m sorry you don’t like it, Judy, but that’s the way it is, and I don’t really want to write a new lyric.’ But Tom Drake, who played the boy next door, took me aside and said, ‘Hugh, you’ve got to finish it. It’s really a great song potentially, and I think you’ll be sorry if you don’t do it.’ So I went home and I wrote the version that’s in the movie.”

Garland’s rendition was released as a single and, though it only rose to No. 27 on the pop charts, became a hit with U.S. service members fighting in World War II. It’s easy to hear why; she captures the nuances of the lyrics, which are simultaneously hopeful and yearning, cherishing the days that used to be while wishing to forge similar memories again: “Someday soon we all will be together/If the fates allow/Until then, we’ll have to muddle through somehow/So have yourself a merry little Christmas now….”

Here she is performing it on the radio in 1944:

In 1957, Frank Sinatra – who first covered it in 1948 – asked Martin to change the line “until then we’ll have to muddle through somehow” to something a tad more upbeat, as he wanted to re-record it for his A Jolly Christmas LP and found that line depressing. As a result, it became “hang a shining star upon the highest bough.” It zaps some of the song’s strength, I think.

In the years since, it has joined the Great American Songbook and been performed by hundreds upon hundreds of artists; SecondHandSongs lists 1575 recorded renditions, for example, and that’s likely an undercount. Simply put, it tugs at the heartstrings like few others; and, in some respects, could well be the theme song for Christmas 2020. In any event, here’s a Song Roundup of renditions that have captured my ear through the years and also this morning…

Ella Fitzgerald sings it from her 1960 Ella Wishes You a Swinging Christmas LP. Note that she sticks with the “muddle through” line…

…while Lena Horne, on her 1966 album titled Merry From Lena, does not.  

The a cappella jazz vocal ensemble Singers Unlimited perform the “highest bough” version song on their 1972 Christmas LP.

In 1987, Chrissie Hynde and the Pretenders deliver a stirring rendition of the Sinatra version for the A Very Special Christmas CD compilation. (Interesting to note, but it was after this record that the song’s popularity jumped into hyperdrive.)

In 1992, the Stylistics put their soulful spin on it and make it sound brand new, though they, too, sing the “highest bough” line.

Linda Ronstadt also “hangs a shining star” on her 2000 A Merry Little Christmas album. 

In 2004, Dionne Warwick and Gladys Knight joined together for this moving rendition, which appeared on Warwick’s My Favorite Time of Year album; they actually make me not mind when they sing “highest bough” line. 

Also in 2004, Chris Isaak channels his inner Sinatra for this version from his Christmas album, but sings the original “muddle through” line.

In 2011, She & Him (aka Zooey Deschanel and M. Ward) covered the Sinatra version for their A Very She & Him Christmas set.

First Aid Kit shared their beautiful version, which they performed on BBC Radio 2, in 2017. They, too, “muddle through.” 

Finally, the rendition that ignited this journey: Malin Pettersen and Darling West, who shared their cover a few weeks back. As I said at the time, it’s a hauntingly beautiful rendition of a haunting beautiful song. (And, note, that they also sing the original “muddle through” line.)

Friday night, while scrolling through my iPhone’s Photo Library, I came across ancient family photos that I imported via the Photomyne app while packing for our Big Move in late 2018. When used, taking a picture of a page in a photo album results in auto-cropped files for each photo thereon. The big plus: It’s faster and easier than the scanning process, as it only requires a click. It also, obviously, preserves the integrity of the album(s). The downside: The quality, as shown to the left (that’s me in the early 1970s), is nowhere near as good as a scan. As thumbnails, the photos of photos look okay – washed-out, but good enough to recall the moment in time. Up close, however, they’re somewhat blotchy and pixelated.

Cover songs work in similar fashion. At their best, they’re metaphoric pipelines to and from the collective unconscious, shedding insights not just into the singer and song, but all who have braved the same musical journey. At their worst, they’re little more than carbon copies of the original, somewhat faded and hard to hear, but enjoyable nonetheless.

And, with that out of the way, here’s Today’s Top 5: Cover Songs, Vol. 55…

1) Courtney Marie Andrews – “One of These Days.” This Neil Young song (originally from Harvest Moon) is obviously dear to CMA’s heart, as she’s covered it before.

2) Phoebe Bridgers – “If We Make It Through December.” So, a few years back, I compiled a list of songs Courtney Marie should cover… and this Merle Haggard song was one of them. To my ears and heart, it’s one of the greatest songs written about making it through tough times – and Bridgers does it justice.

3) Malin Pettersen and Darling West – “Have Yourself a Merry Little Christmas.” This is a haunting beautiful rendition of a song that is, itself, hauntingly beautiful.

4) Margo Price – “River.” Who hasn’t covered this non-Christmas song? Yet when it’s done right, as it is by Ms. Price, who can complain? The heart aches while listening to it.

5) Molly Tuttle – “White Rabbit.” Molly boards the Jefferson Airplane for a flight high above the clouds with this very cool rendition of a Summer of Love standard.

And one bonus…

Scary Pockets featuring Rett Madison – “I’m on Fire.” I’m somewhat over covers of this Boss tune, as the Staves’ rendition from a few years back sort of made all others moot. But this kind of redraws the blueprint. (Rett, by the way, is an up-and-coming L.A.-based singer-songwriter – her recent single, “Kerosene,” absolutely smokes; and Scary Pockets is a funk band with a knack for cool covers.)

 

Is there a better song than “Moon River”? Perhaps. Yet there’s no denying that it’s one of the greatest songs of all time. Composed by Henry Mancini and featuring lyrics by Johnny Mercer, it features prominently in the 1961 adaptation of Truman Capote’s Breakfast at Tiffany’s, where it’s first heard as an instrumental during the classic opening sequence…

…and, later, when Audrey Hepburn sings it while sitting on her apartment’s window ledge. Initially, Paramount executives considered dubbing a trained singer’s voice and, after an early screening, then cutting the scene altogether. The former was taken care of Mancini, who specifically composed something within Hepburn’s range; and Hepburn herself took care of the second threat, insisting it remain. (Good thing she did: It won the Oscar for Best Original Song at the next year’s Academy Awards.) 

In October 1961, Mancini’s re-recorded orchestral version was released as a single alongside the album Breakfast at Tiffany’s: Music From the Motion Picture. The 45 peaked at No. 11 on the charts that December, while the LP went to No. 1. Hepburn’s winsome rendition, however, could only be heard in the movie until after she passed in 1993, when Music from the Films of Audrey Hepburn was released on CD. (Mancini is quoted as saying, “‘Moon River’ was written for her. No one else has ever understood it so completely. There have been more than a thousand versions of ‘Moon River,’ but hers is unquestionably the greatest.”)

Jerry Butler’s rendition was released concurrently with Mancini’s orchestral rendition, and also reached No. 11. 

Over in the U.K., Danny Williams – aka Britain’s Johnny Mathis – scored a No. 1 hit with the tune in 1961. (His was an interesting life. Born in 1942 South Africa, he won a talent contest at age 14, joined the Golden City Dixies and, when that act visited London in 1959, was signed to EMI.) 

Back in the U.S., meanwhile, a whole host of singers began covering the song – most notably Andy Williams, who covered it on his 1962 Moon River and Other Great Movie Themes album. He also sang it at the 34th Academy Awards and, then, adopted it as his theme song…but, oddly, never released it as a single. 

One of those “whole host of singers”: Ben E. King, who infused a “Spanish Harlem”-like vibe into his version, an album track on his 1962 Ben E. King Sings for Soulful Lovers LP.  

Bobby Darin recorded it in early 1963, though it sat in the vaults until 1999, when it was included on the Unreleased Capitol Sides compilation (and again, a few years later, on the five-star Legendary Bobby Darin CD).

Here are a few – of many – memorable renditions from the 1960s:

I’ll jump forward – and skip many other worthwhile renditions – to 1987 for one of my favorite versions, which hails from the Irish singer Mary Black’s 1987 album, By the Time It Gets Dark. At the time, it wasn’t included on the LP or cassette, just the CD. 

CD bonus tracks became all the rage by the early 1990s, of course, as music companies pulled out the stops while striving to get fans to re-purchase albums for the second (or third) time – LP/cassette —> first CD release —> CD reissue. In 1992, I.R.S. did just that with R.E.M.’s early albums, including their classic sophomore set from 1984, Reckoning. It featured five bonus tracks, including their take on “Moon River.”  

Michael Stipe & Co, though initially classified as “college rock,” weren’t the only alternative-minded rockers to cover it. In 1996, the Afghan Whigs released a cover of it as a bonus track of their “Going to Town” CD single. 

I’ll skip ahead to the next decade, when former and future Belly frontwoman Tanya Donelly shared her sweet version of “Moon River” on the 2010 Sing Me to Sleep: Indie Lullabies compilation.

The next year, the retro-minded Puppini Sisters – whose close harmonies are a thing of wonder – sang it on their Hollywood album.  

The British singer-songwriter Rumer, who pretty much makes every song she sings hers, included a version of it on her 2014 B-Sides & Rarities set. 

Frank Ocean surprised fans in February 2018 with his rendition of the song…

And, finally, here’s the rendition that sent me on this journey: Melody Gardot’s. Her luminous version can be found on this year’s Sunset in the Blue.

For the record, I am not now, nor have I ever been, a fan of the Police. I don’t mean the brave men and women in blue, mind you, but the new-wave rock band that consisted of Sting on lead vocals and bass, Andy Summers on guitar, and Stewart Copeland on drums. At some point in late 1979 or early ’80, I did buy the 45 of “Message in a Bottle” – but that was it. Sure, like most radio listeners of the early ’80s, I enjoyed a handful of their other hits – such as “Don’t Stand So Close to Me” and “Every Breath You Take” – but never enough to purchase anything else by them. Music fandom is an odd duck, of course, and – though I didn’t connect with their music – I also didn’t detest it or them. (Which I can’t say for other bands of the era.) They just didn’t speak to or for me.

In fact, my favorite Police song isn’t a Police song, per se, but a cover by Juliana Hatfield. In 2000, she included her spin on “Every Breath You Take” via a bonus CD single (backed by the “Mad Mex Mix” of “When You Loved Me”) as part of the deluxe two-fer package of Beautiful Creature and Juliana’s Pony: Total System Failure. (It was later included on her 2002 Gold Stars best-of.)

I share all that for no other reason than this: Juliana’s next album is slated for release on November 15th. Titled Juliana Hatfield Sings The Police, it will feature her renditions of 12 Police songs. It’s the second entry in a planned series of Sings albums (the first being the ONJ set, obviously). Future entries will hopefully – but likely not – be devoted to the Kinks, Paul Weller and Neil Young. (That’s my wish list.) In a statement posted on the American Laundromat site, where one can pre-order the album on CD, vinyl or cassette, or splurge on the “Synchronicity” bundle, she explains:

“With “Juliana Hatfield Sings The Police” I am continuing the project that I started last year with my “Juliana Hatfield Sings Olivia Newton-John” album. I hope to continue to go deep into covering artists that were important to me in my formative years. The songs I’ve chosen seem to resonate in the present moment. “Rehumanize Yourself”, “Landlord”, and “Murder By Numbers” explore ugly kinds of nationalism, abuses of power, and the mendacity of large swaths of the ruling class. And then there are the timeless, relatable psychodramas: “Every Breath You Take”, “Can’t Stand Losing You”, “Canary In A Coalmine”. In the Police, each player’s style was so distinctive, accomplished and unique that I didn’t even attempt to match any of it; for anyone to try and play drums like Stewart Copeland would be a thankless, pointless task that is bound to fail. Instead, I simplified and deconstructed, playing a lot of the drums myself, in my rudimentary, caveman style. Chris Anzalone (Roomful Of Blues) played the rest of the drums. Ed Valauskas (the Gravel Pit) and I each played about half of the bass parts, while I did all the guitars and keyboards. I listened to a lot of the Police when I was preparing and making this album, and their recordings are as refreshing and exciting as ever. I hope that my interpretations of these songs can inspire people to keep loving the Police like I did, and still do.” 

As a non-Police fan, I can’t and won’t play Monday morning quarterback with the chosen songs. That said, I am surprised by the lack of “Don’t Stand So Close to Me,” which seems like it could be a page out of Juliana’s thematic playbook.

Here’s the first teaser track, “De Do Do Do, De Da Da Da”: