yo thanks for the unicorns
lala? mhm?
teletubbies?
Covers
For those who did not grab this file, here is the link:ferges wrote:Grab it fast, it's a copyrighted material.and another polish group, "milosc", recorded jazzy version of venus in furs with lester bowie on trumpet.
http://www.megaupload.com/?d=076E0N80
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Elvis Plebsley
- Head held high
- Posts: 432
- Joined: 07 Mar 2004 21:11
re Vic Godard - it's probably been mentioned in this thread already but I am currently digging Vic's lazy take on She's My Best Friend at the moment (recorded in the early 90s I think).
In a charming misheard lyric, he sings 'better than a dormer car' instead of 'dog or car', and misses another phrase out completely...
In a charming misheard lyric, he sings 'better than a dormer car' instead of 'dog or car', and misses another phrase out completely...
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stOneskull
i remember reading something, i think from the v.u. appreciation society, that the velvets have had more cover songs recorded by other artists than any other band in history. is this true?
i've been trying to find a reference to this on the web but can't find it. there were thousands of covers noted, and i'd love to find a list or at least a reference to whether they are the most covered (recordings, not live songs) ever.. and maybe an approximate number of covers there's been.
that coversproject link isn't working for me at the moment, i'll try that again later.. the other lists i've found are just some selections.
i've been trying to find a reference to this on the web but can't find it. there were thousands of covers noted, and i'd love to find a list or at least a reference to whether they are the most covered (recordings, not live songs) ever.. and maybe an approximate number of covers there's been.
that coversproject link isn't working for me at the moment, i'll try that again later.. the other lists i've found are just some selections.
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Changeling
- Head held high
- Posts: 397
- Joined: 18 May 2004 15:26
- Location: Boston Tea Party
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Pernod time
- On the wild side
- Posts: 167
- Joined: 10 Sep 2004 13:39
Dont forget Sweet Nuthin, nice MP3 covers available at this site.
http://www.sweetnuthin.com
We are playing again at Cafe Romand,Wipkigen, in Zürich,Switzerland - next Friday 7th of October
http://www.sweetnuthin.com
We are playing again at Cafe Romand,Wipkigen, in Zürich,Switzerland - next Friday 7th of October
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MeirRachel
- Beginning to see the light
- Posts: 44
- Joined: 18 May 2004 20:05
Louie Louie (New Lou Tribute)
The performer known as Angel Corpus Christi is part of a maverick tradition of American street-corner that includes the sidewalk stylings of Dion & The Belmonts, Louis Hardin aka Moondog?s one-man band, Alan Vega and Martin Rev?s electric doo-wop and the songs of Lou Reed. Despite spending extended periods beneath the radar, Angel has emerged as one of the premier proponents of the accordion as a viable drone/pop instrument in the past few decades. In fact it?s tough to think of anyone outside of Tara Burke of Fursaxa who has so beautifully reconciled the instrument?s inherent psychedelic qualities ? its ability to generate lungfuls of drone ? with a melodic, often melancholic, approach to popular song.
Angel is also an accomplished interpreter of other people?s material. Much of her 80s output concerned itself with the idea of New York as some kind of mythic construct as well as a place where some of the most vital culture of the 20th century lived and died and as such she incorporated cover versions of underbelly anthems like Suicide?s ?Dream Baby Dream?, Richard Hell?s ?Blank Generation? and themes and monologues from Martin Scorsese?s Taxi Driver into accordion/vocal suites that were as idiosyncratic and personally American as any of Harry Partch?s miniatures.
Anyone who spends any considerable time thinking about the idea of New York will at some point have to wrestle with the back catalogue of Lou Reed and The Velvet Underground. And throughout her career some of Angel?s best work has been her re-scoring of Reed tracks like ?The Day John Kennedy Died?, ?Femme Fatale? and ?Rock ?n? Roll Heart?. But until now, she has never attempted a long-form tribute to the premier (albeit self-appointed) poet of the New York streets.
Titling the set ? and starting it off with ? ?Louie, Louie?, Richard Berry?s pubescent call-to-arms, is a masterstroke, simultaneously a love poem to Lou Reed and a situating of his works in the pantheon of early American rock ?n? roll. Back when they were still active, Reed would often insist that The Velvet Underground were simply a rock ?n? roll group from Long Island, and all of the most astute contemporary commentators ? Lester Bangs, Wayne McGuire, Fusion?s Robert Somma - were quick to draw comparisons between The Velvets and early vocal groups like The Moonglows, The Drifters and The Crystals. Indeed, it was lunatic dance tunes that Reed penned for Pickwick back at the dawn of The Velvets in 1965, tracks like ?The Ostrich? and ?Sneaky Pete?. Besides, Reed has always had an affinity for indecipherable vocal codes, and ?Louie, Louie? ranks up there with ?Sister Ray?, ?European Son? and ?The Murder Mystery? as one of the most consistently mis-heard and endlessly suggestive lyrics of all time. And that?s how Angel approaches the source material here; reducing Lou?s songs to their most primal phonetics, re-arranging them as weepy ballads and strident pop songs and making overt their basis in Lou?s rock ?n? roll heart.
Over the course of Louie, Louie, Angel?s track choice is pretty astute, displaying the kind of insider knowledge of the various unlikely highs and endlessly rewarding lows of Reed?s back catalogue that only a true fan could boast. So there?s no ?Heroin? here, no ?Perfect Day?. There is, however, ?I Wanna Boogie With You?, one of Reed?s sharpest/dumbest lyrics from one of his best ? if still critically unsung ? albums, 1979?s The Bells. Here, with the help of Galaxie 500/Luna?s Dean Wareham, she segues it into a stoned version of Serge Gainsbourg?s ?Je-Taime?, turning Reed?s threats to ?do? your baby sister into something a little more, uh, persuasive. ?Disco Mystic? is another inspired shot. Not sure if Angel checked with Reed?s collected lyrics for the words to this one but she has the whole LA-cocaine-guru-wraps-a-funky-porn-shoot feel down to a thudding tee. Her versions of ?Femme Fatale? and ?I?m Set Free? are both instrumental and as such feel more like codas or extended atmospheric postscripts than straightahead cover versions. The melancholy reading of ?Femme Fatale? now feels more like the end credits on an inexorably ill-fated love affair, while ?I?m Set Free?, originally one of Reed?s most poignant lyrics, gets a real ride-in-the-sun treatment complete with some wowing old-wave guitar from Chinaboise/MX-80?s Rich Stim, whose fingerprints are all over this disc. For ?Caroline Says?, Angel plays against the icy feel of the lyrics with some comparatively up-beat drum machine and bass that lend the track a whole other kind of shiver, while her inspired version of ?Tell It To Your Heart? effectively rescues it from the wretched clutches of Reed?s jobbing bassist/occasional vocalist, Fernando Saunders.
Besides all of the covers there are a clutch of Angel-penned lyrics that function as great stand-up sketches of the man himself, from memories of him drunk and coming-on in his local branch of Tower Records to perhaps the most-timely and close-to-the-bone cut on the album, an investigation into the vagaries of Lou Reed?s hair, with some particularly pressing questions directed towards the do he wore to The Velvets? induction into the Rock ?n? Roll Hall Of Fame. It was ?a real eyesore?, says Angel. Let?s hope Lou still listens to his fans.
So forget alla that opera and alla them French movies ? and while you?re at it, take 50 minutes out from alla those noise cassettes and free-folk CD-Rs - and take the time to re-acquaint yourself with the source: the songs of Lou Reed, in the form of an Angel. Amen to that.
Comes in an inspired Transformer-tribute sleeve and features guest appearances from Rich Stim, Dean Wareham and Sonic Boom.
Angel is also an accomplished interpreter of other people?s material. Much of her 80s output concerned itself with the idea of New York as some kind of mythic construct as well as a place where some of the most vital culture of the 20th century lived and died and as such she incorporated cover versions of underbelly anthems like Suicide?s ?Dream Baby Dream?, Richard Hell?s ?Blank Generation? and themes and monologues from Martin Scorsese?s Taxi Driver into accordion/vocal suites that were as idiosyncratic and personally American as any of Harry Partch?s miniatures.
Anyone who spends any considerable time thinking about the idea of New York will at some point have to wrestle with the back catalogue of Lou Reed and The Velvet Underground. And throughout her career some of Angel?s best work has been her re-scoring of Reed tracks like ?The Day John Kennedy Died?, ?Femme Fatale? and ?Rock ?n? Roll Heart?. But until now, she has never attempted a long-form tribute to the premier (albeit self-appointed) poet of the New York streets.
Titling the set ? and starting it off with ? ?Louie, Louie?, Richard Berry?s pubescent call-to-arms, is a masterstroke, simultaneously a love poem to Lou Reed and a situating of his works in the pantheon of early American rock ?n? roll. Back when they were still active, Reed would often insist that The Velvet Underground were simply a rock ?n? roll group from Long Island, and all of the most astute contemporary commentators ? Lester Bangs, Wayne McGuire, Fusion?s Robert Somma - were quick to draw comparisons between The Velvets and early vocal groups like The Moonglows, The Drifters and The Crystals. Indeed, it was lunatic dance tunes that Reed penned for Pickwick back at the dawn of The Velvets in 1965, tracks like ?The Ostrich? and ?Sneaky Pete?. Besides, Reed has always had an affinity for indecipherable vocal codes, and ?Louie, Louie? ranks up there with ?Sister Ray?, ?European Son? and ?The Murder Mystery? as one of the most consistently mis-heard and endlessly suggestive lyrics of all time. And that?s how Angel approaches the source material here; reducing Lou?s songs to their most primal phonetics, re-arranging them as weepy ballads and strident pop songs and making overt their basis in Lou?s rock ?n? roll heart.
Over the course of Louie, Louie, Angel?s track choice is pretty astute, displaying the kind of insider knowledge of the various unlikely highs and endlessly rewarding lows of Reed?s back catalogue that only a true fan could boast. So there?s no ?Heroin? here, no ?Perfect Day?. There is, however, ?I Wanna Boogie With You?, one of Reed?s sharpest/dumbest lyrics from one of his best ? if still critically unsung ? albums, 1979?s The Bells. Here, with the help of Galaxie 500/Luna?s Dean Wareham, she segues it into a stoned version of Serge Gainsbourg?s ?Je-Taime?, turning Reed?s threats to ?do? your baby sister into something a little more, uh, persuasive. ?Disco Mystic? is another inspired shot. Not sure if Angel checked with Reed?s collected lyrics for the words to this one but she has the whole LA-cocaine-guru-wraps-a-funky-porn-shoot feel down to a thudding tee. Her versions of ?Femme Fatale? and ?I?m Set Free? are both instrumental and as such feel more like codas or extended atmospheric postscripts than straightahead cover versions. The melancholy reading of ?Femme Fatale? now feels more like the end credits on an inexorably ill-fated love affair, while ?I?m Set Free?, originally one of Reed?s most poignant lyrics, gets a real ride-in-the-sun treatment complete with some wowing old-wave guitar from Chinaboise/MX-80?s Rich Stim, whose fingerprints are all over this disc. For ?Caroline Says?, Angel plays against the icy feel of the lyrics with some comparatively up-beat drum machine and bass that lend the track a whole other kind of shiver, while her inspired version of ?Tell It To Your Heart? effectively rescues it from the wretched clutches of Reed?s jobbing bassist/occasional vocalist, Fernando Saunders.
Besides all of the covers there are a clutch of Angel-penned lyrics that function as great stand-up sketches of the man himself, from memories of him drunk and coming-on in his local branch of Tower Records to perhaps the most-timely and close-to-the-bone cut on the album, an investigation into the vagaries of Lou Reed?s hair, with some particularly pressing questions directed towards the do he wore to The Velvets? induction into the Rock ?n? Roll Hall Of Fame. It was ?a real eyesore?, says Angel. Let?s hope Lou still listens to his fans.
So forget alla that opera and alla them French movies ? and while you?re at it, take 50 minutes out from alla those noise cassettes and free-folk CD-Rs - and take the time to re-acquaint yourself with the source: the songs of Lou Reed, in the form of an Angel. Amen to that.
Comes in an inspired Transformer-tribute sleeve and features guest appearances from Rich Stim, Dean Wareham and Sonic Boom.
Last edited by MeirRachel on 17 Jun 2012 19:44, edited 1 time in total.