Cover me: Your picks for the best and worst cover songs
Melissa Ruggieri
July 03, 2008 11:07 PM
I asked—and you responded. Fervently and enthusiastically. We like that.
Last week’s Beat column about the best and worst cover songs was admittedly trimmed to the bare minimum for space purposes. But with the limitless availibility online, let me again note that if I had the room, Cake’s take on Gloria Gaynor’s “I Will Survive” and No Doubt’s remake of Talk Talk’s “It’s My Life” would have definitely made my best list.
And, as I was reminded this evening when Lionel Richie’s “Hello’ turned the XM ‘80s channel into instant mush, we can’t already forget the genius rendition of that song by David Cook on “American Idol” this season (to be fair, Incubus grunged it up first and Cook paid homage to that version).
Here is what some of you had to say:
I really enjoyed your article. I agree 100 percent with your choices.
<<< Love the Bangles' " Hazy Shade of Winter."
I haven’t heard the Foo Fighters’ “Baker Street,” so I went on over to YouTube to check it out. Very Good! Rick Springfield actually also did a cover of this song which I think is very good. I actually saw him do “Life in a Northern Town” live in 2005.
Gretchen Wilson definitely has the best cover I’ve ever heard of “Barracuda.”
If I hear Jessica Simpson’s “Take My Breath Away” one more time, I may lose my mind. They play it on the PA system at work. I have the pleasure of listening to it at least eight times per day. LOL. It gets better. My daughter is getting married in the fall and told me this is one of the songs she is playing at the wedding. I already purchased ear plugs.
– Elizabeth Sterling
For best, one must include Hendrix’s version of “All Along The Watchtower.” So good even Dylan uses Jimi’s arrangement. >>>
For worst, “Baby I Love Your Way/Freebird” by Will To Power. They took a lame Peter Frampton song, an overplayed (though I still like the original) Skynyrd song and mashed them together into a soft rock/soft jazz unholy mess. Truly wretched.
– Tony Jordan
I’ll throw in some good ones in no particular order:
Jason and the Scorchers, “Absolutely Sweet Marie” (Dylan)
Fountains of Wayne, “Better Things” (Kinks)
The Reivers (aka Zeitgeist), “Atlantic City” (Springsteen)
The Replacements, “Another Girl, Another Planet” (The Only Ones)
<<< REM, "Toys in the Attic" (Aerosmith)
Camper van Beethoven, “Pictures of Matchstick Men” (Status Quo)
Holly Beth Vincent and Joey Ramone, “I Got You Babe” (Sonny and Cher)
Joey Ramone, “What a Wonderful World” (Louis Armstrong)
Social Distortion, “Ring of Fire” (Johnny Cash)
Husker Du, “Love is All Around” (The Mary Tyler Moore Show theme)
Yo La Tengo, “Dreaming” (Blondie)
Elvis Costello, “What’s so Funny ‘Bout Peace, Love and Understanding”
(yes, it’s a cover, written by Nick Lowe)
Cheap Trick, “California Man” (The Move)
The Liquor Giants, “Fire Brigade” (The Move)
For the bad ones, I’ll echo Pearl Jam and 311 and add
Van Halen, “Dancin’ in the Street”
Van Halen, “You Really Got Me”
Tiffany, “I Saw Him Standing There”
Hootie and the Blowfish, “I Go Blind”
Thanks for indulging me.
– Scott Jeffrey
I enjoyed your article on cover songs. Cover songs have long been one of my greatest interests involving music. I have a record collection of over 15,000 LP’s, over 6,000 CDs, thousands of 45’s and cassettes – so I know a little about cover songs!
I am 62 years old so my faves are from the earlier days of rock ‘n’ roll, but I still listen to current music.
As for my faves:
1.Gene Pitney’s version of “That Girl Belongs to Yesterday” – written as “My Only Girl” by Jagger & Richards and originally recorded by George Bean (not sure if it was released). Pitney re-wrote it and released it under the new title. It was the Stones first song to hit the charts in the US.
2.Creedence Clearwater Revival’s version of “I Heard it Through the Grapevine”. Originally by Marvin Gaye. I first heard CCR’s version while in the Army stationed in Korea. Loved it from first hearing. It’s real long and benefits from John Fogerty’s gritty performance.
3.Peter, Paul & Mary’s version of “I Shall Be Released”. Written by Bob Dylan and first recorded by the Band. PP&M’s version (from “Late Again”) has a gospel arrangement and, in my opinion, cuts the Band’s version.
4.The Kingsmen’s version of “Louie, Louie”. Written and originally released by Richard Berry. The Kingsmen totally wrecked (in a good way) and rocked this little ballad.
>>> 5.UB-40’s version of “Red Red Wine”. Neil Diamond wrote it and released it first, but the UB-40 version updates it and gives it a ska beat.
6.Brook Benton’s version of “Rainy Night in Georgia”. Beats Tony Joe White’s original by adding a real soulful voice to a real soulful song. Tony Joe White has a great voice, don’t get me wrong, but Mr. Benton’s is much more soulful.
As for the worst (that is a relative term and very subjective, but here goes):
1.Radiohead’s version of “Nobody Does It Better”. Originally done by Carly Simon for the James Bond movie. Radiohead start out interestingly, but sadly, they lose interest and camp it up. They have no respect for the song – so why did they bother?
2. Oranger’s version of “Mr. Sand Man” (from “Stubbs the Zombie”). The Chordettes own this song. You must have respect for a song in order to improve it. Snarkiness assures that you will ruin it. Many of the covers on the “Stubbs the Zombie” soundtrack are good – Ben Kweller’s version of “Lollipop” for example, but many of them suffer from Oranger’s obvious feelings of being too hip for this material.
As for your choices – I must disagree with you on your listing of Pearl Jam’s version of “Last Kiss” and Guns N’ Roses’ version of “Live and Let Die”. I loved them! They obviously respect the original material and do it justice.
Thanks for the opportunity to share some of these ideas. I could list hundreds of faves, but you would lose interest quickly and delete this email!
– Dan Hollyfield
I enjoyed your article on Best and Worst Cover songs. I prefer that an artist stick with his own music and not do covers. Rick Springfield made smart choices for his cover song CD. I like his version of “Imagine.” Clay Aiken did well with most of his covers. I love Donny Osmond but I had to laugh when he sang “I Can’t Go for That.” No can Do is right!
– Jennifer
Hard to keep this short—but very fun!
The best cover songs are worked by the artist in their own style, adding that extra something to make the song even better. The cover is so good, the original is (almost!) forgotten:
• All Along the Watchtower – Jimi Hendrix
• Proud Mary – Ike and Tina Turner
• The Letter – Joe Cocker
Better cover songs are still very much in the artist’s own style:
• Get Ready – Rare Earth
• I’m a Man – Chicago
• Mr Tambourine Man – The Byrds
The tolerable are certainly listenable—either version is compelling:
• Linda Ronstadt covers
The poor are those that actually lose something from the original—the pain, the passion of the original is missing:
• Most (if not all) covers by Johnny Rivers
• Angel of the Morning – Juice Newton
• The First Cut is the Deepest – both Sheryl Crow and Wilson Phillips
The worst are those that should never have been made, that evoke the fingernails on the chalkboard. These make you wish they were playing the original instead of the cover:
• Slade originals (Cum on Feel the Noize, Mama Weer All Crazee Now) covered by Quiet Riot – did they change anything?
• Mony Mony – Billy Idol
• Breaking Up is Hard to Do – I’m not a big fan of Neil Sedaka performances, and Sedaka covering Sedaka was too much!
– Chip Coutts
I’m glad you wrote this article. I confess I haven’t heard most of these covers, so I’ll check them out online.
I have two additions to the best list, one addition to the worst issue, and a comment on one of your choices. I think Sinead O’Connor did a fab job in covering Elton John’s “Sacrifice,” a song I really didn’t care much for until I hear her sing it.
<<< I love No Doubt's cover of “It's My Life.” Talk Talk’s version was decent, but Gwen Stefani really brings it to life.
A “worst of” list is incomplete without Dolly Parton’s, God bless her for trying, rendition of “Stairway to Heaven.” That one is right up there with Celine’s cover of AC/DC.
While I completely agree with your assessment of “Hazy Shade of Winter,” I am surprised at your thoughts on GNR’s “Live and Let Die.” What?? When I sing the song, which I do for some reason on occasion, you know it’s the GNR version that’s in my head because of my uncanny vocal resemblance to Axl--which is not really on purpose-- it’s just that I can’t sing well. Anyway, I love their version.
So now you know. 
Thanks for all you do in service of music. I think you’re great!
– Jennifer Ferris
“Stairway to Heaven” by Dolly Parton. Found on her “Halos and Horns” CD.
ICK.
– Lee Anne Fuller
Just wanted to give my 2 cents worth on the best cover songs of all time.
I absolutely love Cake’s versions of “I Will Survive” by Gloria Gaynor. It’s one of my most played songs on my iPod. They also do a good job of covering Sabbath’s “War Pigs” and “Ruby, Don’t Take Your Love To Town” by Kenny Rodgers. Gosh...I loves me some Cake!
But my favorite of all time I think is Van Halens version of “Pretty Woman”. Even having the audicity to cover Roy Orbison took a lot of courage, but somehow they pulled it off! Even Roy’s trademark growl! Mercy! That version always made me smile. I never heard if he liked it, but I’m betting it made Mr Orbinson smile also.
Keep up the good work, I read your stuff every single week!
– Chris deTreville
I agree that the Bangles version of “Hazy Shade of Winter” is in the top ten, but how can you have a best cover song list and leave off “With a Little Help From My Friends” by Joe Cocker?
The title track from his second album, he completely reworked this Beatles song, trumping Ringo’s version from “Sgt. Pepper” by a wide margin. It’s a classic.
The other best cover song is Dave Edmund’s version of Elvis Costello’s “Girls Talk” from his “Repeat When Necessary” album (yes it was originally a vinyl album). I usually think Elvis Costello does the best versions of his own songs, but Dave Edmunds, with his high energy rock’n’roll approach, wins this one hands down, making the song his own. (If you want a candidate for worse cover song, check out Linda Ronstadt’s version of “Girls Talk” from her “Mad Love” album).
Love your column, read it religiously.
– Bruce Raterink
>>>I had the unfortunate experience of hearing Faith Hill [shudder!] cover Janis Joplin’s “Piece of My Heart.” It is gruesome!
There may be worse covers, and you named one of my most hated- Pearl Jam’s “Last Kiss” but “Piece of My Heart” is fresh in my memory
Speaking of “Last Kiss”, have you heard of the book “I Hate Myself and Want to Die” by Tom Reynolds? It’s the most depressing songs ever.
The two songs that immediately leap to mind are in there, “Honey” by Bobby Goldsboro, and “Brick” by the Ben Folds Five. The commentary is hilarious, though. Try to read it if you can.
I’m a big fan of your writing.
– Jean Lewis
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DMB’s LeRoi Moore injured
Melissa Ruggieri
July 01, 2008 3:44 PM
The Dave Matthews Band has announced that band member LeRoi Moore was injured yesterday in an ATV accident on his farm outside Charlottesville. The saxophonist was immediately transported to the University of Virginia Health System for treatment where he has been upgraded to fair condition.
Beginning tonight in Charlotte, Béla Fleck and the Flecktones saxophonist, Jeff Coffin, will sit in with the Dave Matthews Band while LeRoi recovers.
Our thoughts are with him.
You can check out of Nissan Pavilion, but you can never leave
Melissa Ruggieri
July 01, 2008 1:43 AM
Every summer I find myself asking some variation of the question, how is Nissan Pavilion allowed to exist?
As a venue, it’s great. Decent concessions (face it, any venue, anywhere, is overpriced, so that’s no different here), a giant, sprawling lawn that accommodates close to 15,000, and mammoth video screens that flank the stage.
But you would only know all of this if you actually got IN the venue, and therein lies the problem. Actually, the bigger problem is getting OUT.
For Saturday’s Dave Matthews show, my concert date and I left Richmond at 4:30 p.m. We made a brief stop at Baja Fresh in Fredericksburg (another superior chain that couldn’t survive in Richmond) and arrived at the road heading to the pavilion at 6:50 p.m.
DMB was slated to go on at 8:05 p.m.
That left an hour and 15 minutes to drive three miles.
Yeah, for a normal venue.
Around 7:45 p.m., we finally hit the turn for the parking lot. Then we crawled along some more as we followed the trail of cars into a parking lot that I’m pretty sure was neighboring San Diego.
That isn’t even the good part.
Once in the parking lot, the line of cars continued to crawl. And crawl. And turn. And crawl. And suddenly guess what? We had circled the entire lot and there were no spaces to be found.
So, after several minutes of cursing and panicking (it was now 8:05 p.m., BTW), I finally did what everyone else was doing and parked at some geometrically whacked angle on top of a bush. Yep, the TD-mobile possibly killed a giant hunk of foliage. And I’m truly very sorry about that.
After about a 3/4-mile hike to the venue – where we could now hear the band starting its first song (thankfully, the guys went on later than planned, around 8:20 p.m.) – we attempted to go through the entrance, which was a mass of clamoring, sweaty bodies. No real lines, just people all shoving to get to the security pat-down and turnstiles.
That’s pleasant in 90 degree-plus weather.
So, on with the show, which was quite good. You can read about it here: http://www.inrich.com/cva/ric/entertainment/music.apx.-content-articles-RTD-2008-06-29-0258.html
Then comes the trickiest part of any concert at Nissan Pavilion – the dismount.
We speed walked toward the exists with about 15,000 of the almost 25,000 in attendance, dodged the poky people strolling back to their cars with their lawn chairs strapped to their backs and their hands clasped as if they’ve never taken a step without being attached to the other person (note for another day – I hate those people), found the car and realized some other desperate concertgoer had parked his or her vehicle at an even more challenging angle…behind the TD-mobile.
With about three inches to spare before I stripped the paint off the trunk of this sedan (and thanks, concert date friend Heather, for expertly guiding me out of that precarious position), the car was out, we’re heading down the row toward one of many lines that eventually lead to freedom and…gridlock.
This wasn’t even let’s-inch-along-and-maybe-we’ll-get-out-eventually gridlock. This was, my husband called at 11 p.m. to see how we were, I yelled many four-letter words at him, he called back at 12:05 a.m. and we hadn’t moved. An inch. A centimeter. And the road rage dude stuck behind us kept intermittently honking his horn – even tapping out what sounded like Morse code at one point. Like THAT’s gonna help.
Anyway, long story longer…we were finally dislodged from this hellacious Zone of the Frozen Vehicles exactly two hours and four minutes later. I know, because believe me, we were keeping track, and when even the Saturday night ‘80s music on some radio station couldn’t keep us distracted, we knew our patience was flagging.
So tell me…what would have happened if my friend Heather had suddenly been stricken with some horrible illness? What if some pregnant woman (and actually, there were a ton at the concert) started having contractions? What if some nitwit tail-gaiting accidentally started a fire in the parking lot? Where were any of us going to go?
Absolutely nowhere. My friend would be dead, the pregnant woman would have delivered in a dirt parking lot and a fire would have charred everything in sight.
I don’t profess to have a solution to this insane traffic problem, because the way the venue is constructed, there is literally one main road coming from each direction that leads to the main exit. But how about having people direct outbound traffic at the end of each row to prevent the aggressive swarming that always occurs when people’s frustrations replace their decent manners? Might not solve the problem, but it certainly cannot make it any worse.
It’s sad, really, that what should be a fun evening out ends in such an exasperating manner. So now I’m back to my annual question: Why doesn’t the county do something about this?
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Nas at Fridays at Sunset
Melissa Ruggieri
June 28, 2008 10:40 AM
(Special Correspondent D.J. Letemps hit Nas’ show at Fridays at Sunset and offered the following report)
At sunset on Friday, the place to be was at Kanawha Plaza for the “Fridays at Sunset” concert series.
I looked forward to this show all day as I tediously toiled at my 9-to-5 getting by on pure zeal to see Nas –one of the most prolific emcees in hip-hop.
>>>>> Nas (Credit: Kathryn Stewart)
It almost was “Fridays in Showers” as afternoon rain threatened the outdoor event. But by 7 p.m. the skies were clear and the weather was hot and humid –thanks rain. Without a folding chair of some sort, your only choices are to stand or sit in the damp grass. So I did the obvious.
Female emcee, Aynjul, opened the show with a fast flow over hard beats. Her thoughtful lyrics failed to move the crowd as people were finding places to set their folding chairs. She brought out fellow Round Table Entertainment artists Conflict and Wild Fire, which helped her get a few heads nodding and hands waving by the time she finished her half-hour-long set.
Being new to the DMV (D.C., Maryland and Virginia) area, I wasn’t familiar with the sound of go-go music. The first time I heard it I wasn’t really able to catch the beat. The melody was slow but the percussion is upbeat. So do I dance fast or slow? So confusing!
It wasn’t until I heard a band called Mambo Sauce a few months ago that I actually appreciated the sound. At first listen you may confuse it with rock until you hear the distinct percussion via drums and bongos. With my new found appreciation of the sound I was eager to hear it live as Mambo Sauce took the stage next.
Named after a sauce found in Chinese take-out spots in D.C., Mambo Sauce’s music forces you to move. Not just nod your head or tap your feet, it takes over your body.
The seven-member ensemble gave and electric performance of “The Star Spangled Banner” in go-go fashion as an ode to “our next president, Barack Obama.” Performing local hits such as “Miracles” and “Keep Moving,” Mambo Sauce was able to get a good amount of the crowd into go-go.
Most impressive was guitarist Andrew White, who strummed the strings with his tongue during a solo. This got a certain reaction from the females in attendance. It’s surprising that he wasn’t bleeding from the speed he flailed his tongue.
As the crowd grew bigger, lead vocalist Alfred Duncan brought a young boy named Jacari on the stage as he crumped, –a style of dance where the body moves seemingly out of control— and received a reaction greater than the band did.
Mambo Sauce closed out their set around 8:40 p.m. performing their biggest song yet, “Welcome to D.C.” –which the video, directed by Tabi Bonney, drops next week on VH1 Soul. It’s good to see urban music incorporating bands into their sound, because it allows more diversity.
Once Mambo Sauce left the stage, I took a look behind me and noticed a pretty girl. Five minutes went by and I looked again and saw nothing but bodies. The pretty girl was lost in the sea of people that seemed to fill the venue in a blink on an eye by 8:40 p.m.
By that point, people were shoulder-to-shoulder. The body heat of the more than 2,000-person audience only made the 90-degree-weather more intolerable. I ended up talking to the members of Mambo Sauce and by the time we were done, there was a countdown from 10 that yielded Nas at zero.
Nas smoothly strolled to the stage dressed in a white shirt and black pants and greeted the screaming audience. He surprisingly started out with new material form the album formerly known as “N*****” –now untitled—and, even more surprisingly, the majority of the audience knew the songs.
“They say we N-I, double-G, E-R, we are, much more. Still we choose to ignore the obvious,” he rapped. The hard-hitting beat to “N***** (Slave and the Master)” matched with Nas’ raspy, yet clear delivery of such thought-provoking lyrics literally gave me chills.
He held no punches on “Be a N***** Too” rapping every controversial lyric as the crowd ate it up. That song is one that would be hard to play on the radio as it contains every racial slur you can think of. But his artistic integrity softens the blow of vulgarity.
“Though it seems heaven sent, we ain’t ready to have a black president. Yes we can,” blared through the speakers only for Nas not to perform the Obama-inspired song, “Black President.” He said he didn’t know the lyrics as it’s a very new song. What kind of cop-out is that? A bad one, if you ask me.
That was the one time I actually felt disappointed during his performance. Empowerment seemed to be a clear theme of his performance, yet he didn’t perform this powerful song. Nas did perform “Hero,” which is the first single off the upcoming untitled album. The up-tempo track really got the crowd going.
For most of the night, the crown moved in unison like a school of fish. Hands waved, heads nodded, and lighters illuminated the night as if it were choreographed.
“Hip-Hop is Dead” is not only a song, but a statement that Nas pretty much coined –even making it the title of his last album. It’s funny how you can’t mention hip-hop being dead without mentioning Soulja Boy.
Soulja has been under fire for profiting off of music that has no substance. Recently, cop-killa-turned-tv-cop Ice-T said that Soulja Boy “single-handedly killed hip-hop.” Soulja Boy got support from artists who disagree with Ice, such as Kanye West, and now Nas. “I love Soulja Boy,” Nas said before going into the first verse of “Hip-Hop is Dead.”
The rest of the show was nostalgic as Nas performed song after song from his 14-year career. It was apparent where the New Yorkers in the crowd were as they, or should I say we, took a mental trip home during “New York State of Mind” from his first album, “Illmatic.”
The great thing about an artist like Nas is that his lyrics and delivery are the music. It’s like listening to poetry over a beat that amplifies the emotion of the song. I was really amazed to see that an artist focused on lyricism can move a crowd the way he did.
But, regardless of how much Nas loves Soulja Boy, they are apples and oranges. I would rather the genius of Nas over the way-too-loud, prepubescent stage humping –yes, humping— and screams of Soulja Boy any day.
I especially loved the statement of “I Know I Can,” which Soulja Boy might want to listen to. With pistol-shaped fingers in the air, Nas explained their use as “Not to hurt each other, but to protect your brother,” he said.
The climax came during “One Mic,” which he dedicated to all aspiring emcees. He jumped up and rapped as if his life depended on it during climactic parts of the song, further accentuating his lyrical content. He became entranced during the last verse and just held his hand over his face and shook his head. It was OK because the crowd filled in for him.
“Made You Look” turned out to be the last song of the night. That’s not a song I would have chosen, but it was great because it was one of few songs he performed in its entirety.
You’ve got to respect an artist like Nas. He rightfully has the creativity to support his statements, no matter how controversial. Since his first album you’ve always known what to expect from him. His return with a new album is definitely absorbs some of the current oversaturation of Lil’ Wayne.
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“American Idol”: Are you the next Elliott Yamin?
Melissa Ruggieri
June 26, 2008 3:48 PM
If you hope to follow the career path of David Cook, you’ll need to save up for some gas to travel to an “American Idol” audition city.
For the show’s eighth season, eight cities have been chosen for hopefuls to congregate, starting July 17 at the Cow Palace in San Francisco. That just might be my favorite name for a venue ever. Do they hold Chik-fil-A conventions there, too?
Anyway, the closest city for anyone with Elliott Yamin aspirations is East Rutherford, N.J., on Aug. 19 at the also-ridiculously-named IZOD Center at the Meadowlands Sports Complex. (Anyone remember when this place was named for an actual person who did something? You know - Brendan Byrne, the GOVERNOR of the state? We’ve gone from that to an airline – Continental – to an alligator stitched on a polo shirt).
Also within striking distance is Jacksonville, Fla., on Aug. 13 at Veterans Memorial Arena.
The rest of the dates, if you’re so inclined to travel:
Louisville, Ky., Monday, July 21 Freedom Hall
Phoenix, Ariz., Friday, July 25 Jobing.com Arena
Salt Lake City, Utah, Tuesday, July 29 EnergySolutions Arena
San Juan, Puerto Rico Saturday, Aug. 2 Coliseo de Puerto Rico
Kansas City, Mo., Friday, Aug. 8 Sprint Center
The Verve is coming; Blake Lewis is booted
Melissa Ruggieri
June 25, 2008 4:29 PM
Random music notes:
The Verve will make a welcome return Aug. 19 with “Forth,” its first new album after a decade hiatus.
The first single, the surprisingly upbeat “Love is Noise,” is posted at http://www.myspace.com/thevervetv. Love the driving rhythm and the sublime chorus (singer Richard Ashcroft always sounds so beautifully pained), but a little lukewarm on that background chant/effect/weird instrument sound that makes a solid frame of a song too cluttered.
And how about Blake Lewis getting the drop kick from Arista Records after only one release?
Last year’s cutie-pie “American Idol” runner-up seemed to appeal to the cougar contingent that has fallen in love/lust with David Cook, but his beat boxing apparently didn’t lure them to the record stores (either the real ones or the online versions).
His “Audio Daydream” – really not nearly as embarrassing as some other “Idol” pabulum (hiya, Taylor Hicks!), – sold about 300,000 copies, but never ignited at radio, which is still a crucial medium for a certain genre of artist. And maybe that God-awful album cover sent people fleeing.
But hey, even though Lewis massacred Bon Jovi’s “You Give Love a Bad Name” during his run on the show, I still liked the guy with his goofy plaid pants, spiky blond hair and affinity for Doug E. Fresh.
Lewis is still attached to 19 Recordings, the entertainment company run by Simon Fuller that represents and manages many former Idols.
This is also another instance where Elliott Yamin can again be assured he made the right move by biding his time for an independent deal. His self-titled debut has sold more than Lewis’ (500,000-plus for E-Man), but is there any doubt that any of the “Idol”-related labels would have dropped him for not putting up Daughtry-like numbers?
It’s rough out there, kids.
I still love Lucy
Melissa Ruggieri
June 24, 2008 1:52 AM
One of my favorite arguments/discussions with my fellow pop culture freaks is the best TV show of all time.
Many of my guy friends pick “M*A*S*H,” while the girls go with “The Mary Tyler Moore Show.” I’ll admit that even as I’ve aged, the appeal of M*A*S*H has escaped me. But “MTM” I stand firmly behind, if only because it contains one of the best TV theme songs of all times and priceless opening credits.
But as much as I love Mary (and actually, while all of my female friends wanted to emulate her, I was always more the Rhoda), I love Lucy even more.
For whatever reason, it had been years since I found myself watching TV Land – probably because “Gunsmoke” and “Green Acres” never did anything but annoy me.
But a couple of months ago, while scrolling through the TiVo channel guide, I noticed TV Land’s daily airings of “I Love Lucy.” It’s worth pointing out that I actually own several DVD sets of the show – if I found a reason to buy season one of “Gimme A Break,” you can be sure I pulled out the plastic to buy some “Lucy.”
Still – who wants to remove the cat and the laptop, dislodge oneself from the couch and make the effort of putting the DVD in the player when a handy TiVo Season Pass will record any “Lucy” I want, and I can access it from my previously arranged position?
So that’s been my nightly 1 a.m. ritual, after Letterman and a Lifetime repeat of “Frasier.”
And you know what? “I Love Lucy” is as funny, sharp and smart as it was 50 years ago. I suppose part of my infatuation with the show is that it’s set in New York (SO much more glamorous than Mary in Minnesota). But no matter how many times I’ve seen Lucy pop her eyes out of her head or engage in an expert pratfall, or even watch her light her fake nose on fire when trying to disguise herself from William Holden (never was a big fan of those off-to-L.A.-so-Ricky-can-film-a-movie eps), I laugh out loud.
No other show has that effect on me – except maybe “Frasier” and “Everybody Loves Raymond,” and that one only because Doris Roberts’ mama Marie is so painfully genuine as the prototypical Italian mother, you just have to laugh because otherwise you’ll cry.
But I’ve noticed something in “Lucy” that I never picked up on before – and I’ve been watching these re-runs since I was a teen. There are an awful lot of references to Ricky physically hurting her – breaking an arm, giving her a black eye – if he finds out about whatever shenanigans she’s engaged in during the 20 minutes of the show.
If you watch several episodes in a row over a couple of weeks, you’ll actually find it a bit disturbing. Sure, that whole Man Rules The House mentality was the norm during the show’s 1950s run, but to hear any threat of violence – even if it’s in the comical way that Ralph Kramden was pow-ing Alice straight to the moon – is incredibly disconcerting.
But anyway, if you’re a TV Land fan, catch “Lucy” on there while you can. The channel’s licensing agreement ends with the show at the end of the year and the Hallmark Channel is expected to start airing it in January.
Hey, if it’s good enough for “Matlock,” it’s good enough for “Lucy.”
Billy Joel in Virginia Beach
Melissa Ruggieri
June 22, 2008 2:24 AM
Funny how the right song by the right artist at the right moment can lighten your mood.
Nothing about Saturday’s jaunt to Virginia Beach to catch Billy Joel at the amphitheater – his first to the Hampton area in more than 20 years and his inaugural Va. Beach stop – was fun.
First was the blinding monsoon that nailed us from the airport area to Williamsburg. This wasn’t just rain. It was turn-on-the-hazards-and-actually-drive-15-mph weather. So what should have taken 20 minutes to drive clocked in around 40.
<<<<< Billy Joel - NOT taken at Virginia Beach, but this is basically how he looked.
Then came the obligatory stop at Fatburger in Chesapeake, four miles from the amphitheater exit and a necessity because this is the only Fatburger in the state – and the closest until New Jersey.
Make that, WAS the only Fatburger in the state, and now I’m glad I go to Jersey so frequently.
The best burger chain in the nation closed its sole area location last Tuesday. Sign on the door. Nothing but a counter and some chairs inside the vacant shell of a restaurant. You want to talk mopey? That was me.
So on we traveled to the amphitheater, skidding to a halt at least three miles from the turn into the venue’s parking area. This was at 7:25 p.m. By 8, we were still a solid mile away, inching in traffic, nervously glancing at the clock, since Joel was slated to hit the stage at 8:10.
We scampered into the venue about 8:12 p.m., and quickly realized that somebody obviously told Joel to hold off for a few minutes. But, even with all of the people still jammed up in traffic, the amphitheater was overflowing with hordes of boomers – many with their kids, many more with their beers.
You could tell from some accents – and the license plates in the parking lot – that a lot of these folks came south (and east) just to see Joel. Usually, I’m the one traveling to see him (as I’ll do next month for his special “Last Play at Shea” concert in New York), so it was cool to only have a 100-minute drive to endure.
But, cranky as I was from the hard drive, mourning my favorite burger joint and getting nauseated from the stop-and-go traffic for 45 minutes, as soon as Joel thumped onto the stage around 8:20 p.m. and attacked his piano for the sweeping “Prelude/The Angry Young Man,” all of that aggravation dissipated.
Joel is playing a couple of outdoor gigs – he’ll hit Hershey Park in Pennsylvania July 10 – to fine-tune the sound for the Shea shows (July 16 and 18). Though the Virginia Beach Amphitheater is a third the size of Shea’s 55,000-plus capacity, the sound resonated crisply and cleanly, even in the back rows of the amphitheater.
As always, Joel, clad in a dark blazer and jeans, his gray goatee the only sign of his 59 years, addressed the close to 20,000 fans as if they were hanging out in his living room (and with his paychecks, his living room might actually be the size of the amphitheater).
“This is my first time playing Virginia Beach,” he said, eliciting the standard “Omigod, he said the name of our city!” screams from the crowd. “I once drove through Virginia Beach and got a ticket. Going 48 in a 35. With New York [license] plates.”
A beat. A smile. And then a thank you directed at the folks sitting on the massive lawn seemingly miles from the stage for, “buying those seats in Baltimore.”
But Joel also knows that this is an audience who doesn’t need flashy effects – though a spinning array of lights were incredibly effective with their well-timed punches – so he and his seven-piece band simply rolled through a catalog of songs rivaled by a select few solo acts (Elton John, Barry Manilow, Neil Diamond, Paul McCartney and…that’s probably it).
His voice strong and husky, Joel belted out “The Entertainer,” ignoring the irony of one of the great American pop composers of the past four decades singing “Today I am your champion/I may have won your hearts/But I know the game/You will forget my name/And I won’t be here/In another year/If I don’t stay on the charts.”
For the record, Joel’s last studio album came in 1993.
He seems to be surviving just fine.
He did arrange Saturday’s set list to pair his “New York” songs – the eerie “Miami 2017” (the “carrier from Norfolk” line finally got its due with a swell of lights) and signature “New York State of Mind” (with Mark Rivera’s saxophone practically a character in the song).
Then came the like-minded “Downeaster Alexa” and “Allentown” – the former taking on the plight of impoverished fishermen and the latter his love letter to the blue-collar Pennsylvania town that fought to survive after the demise of the manufacturing industry.
Even though Joel has sung those songs – not to mention radio staples “My Life” and “It’s Still Rock and Roll to Me” – a gazillion times, he never appeared to be in robot mode. Instead, he rocked back and forth on his piano stool, scrunched his eyes shut when squeezing out a lyric and improvised vocal runs during many songs.
He also looked tickled when the audience blasted the chorus of “She’s Only a Woman,” grinning like a young musician who had never heard his lyrics bounced back to him before.
Although his fingers – constantly shown on the big video screens via a piano-cam so we could witness his prowess up close – look like plump, stubby sausages, they’re still amazing at their craft.
As he headed into “Root Beer Rag,” the rollicking instrumental from the “Streetlife Serenade” album, Joel told the audience members that they were excused to head to the bathrooms. If you were one who did, you were a fool to miss a masterful three minutes in pop piano playing, as Joel’s hands zipped around the keyboard, a blur of knuckles and veins.
Toward the latter part of the two-hour show, Joel strapped on a guitar and launched into a bit he’s been doing for years. After a humorous introduction about a “special guest” who was going to perform a “religious number,” Joel brought out Chainsaw, a beefy roadie who thundered through a rather impressive version of AC/DC’s “Highway to Hell.”
Was it fun? Absolutely.
But would we rather see it cut in favor of adding “I Go to Extremes” or “Pressure” or “Big Shot” back into the set?
Duh.
The final chunk of Joel’s live show, when he indulges in some silly Elvis-style hip-swiveling for “It’s Still Rock and Roll To Me” and “You May Be Right,” seemingly ramps up the energy level to its peak.
But then comes the epic “Scenes From an Italian Restaurant,” a classic Joel piece in its melodic structure, shifting tempos and colorful storytelling, and, just in case you need a reminder, demonstrates why he’s such a durable icon.
Set list:
Angry Young Man
My Life
The Entertainer
Zanzibar
Miami 2017
New York State of Mind
Downeaster Alexa
Allentown
Don’t Ask Me Why
Keeping the Faith
Root Beer Rag
Movin’ Out
Captain Jack
River of Dreams
Highway to Hell (sung by Chainsaw)
We Didn’t Start the Fire
It’s Still Rock and Roll to Me
You May Be Right
ENCORE
Scenes From an Italian Restaurant
Only the Good Die Young
Piano Man
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Coldplay’s “Viva La Vida”: Best of ‘08 …so far
Melissa Ruggieri
June 22, 2008 1:06 AM
At only midway through the year, it’s still early to christen the best album of 2008.
But few contenders are even in the same homestretch as Coldplay’s “Viva La Vida or Death and All His Friends.”
From the French romantic painting by Eugene Delacroix that serves as the album cover (it’s a piece of work from 1830 titled “Liberty Leading The People”) to the majestic title track (its name taken from a Frida Kahlo painting) that is, no argument, the coolest, most soaring song of the year so far, Coldplay has crafted an intense, ambitious piece of work.
While 2005’s “X&Y” was brilliant in its own right – “Fix You” remains a sweeping embrace for the damaged, while hidden track “Til Kingdom Come” is the first indication that the knot of this band is melody, not overproduction – Coldplay’s musical growth here is acute.
By ushering in the taut 10-track set with an instrumental (another melodic study – “Life in Technicolor”), the band wisely keeps listeners eager for the next note, waiting to hear when the fullness of its sound and poetry of its lyrics will kick in.
It doesn’t happen on the second track, the brooding “Cemeteries of London” – and that is intentional, too.
With U2’s favorite producer Brian Eno guiding this project, Coldplay has learned the importance of restraint, of drawing a listener in with an unfolding of sound (i.e., U2’s “Where the Streets Have No Name”).
Chris Martin’s piano playing is as appealing as ever in its loveliness – the guy has always had an ear for a tantalizing melody – and the jangly backbone of “Lovers in Japan” is all his.
Martin is also willing to break his vocal habits. Rather than rely on his trademark falsetto, he drops several registers on “Yes” to the point of unrecognizability; the quirky song sounds like a throwaway cut from The Beatles’ “White Album,” with its flurry of violins interrupted by a few askew notes.
But even when Coldplay is experimenting with rhythms and unusual instrumentation, “Viva” boasts the rich textures of a movie score, all lush keyboards and whispering strings, evidenced perfectly on “Violet Hill.”
Most interesting is that none of these songs contain a standard anthemic refrain, yet, as the intoxicating title track proves, the verse-chorus-verse formula isn’t necessary when the other elements of the song (strings, piano, a marching band-style deep tom-tom – and yet no guitar) are so catchy.
Aside from the title cut, the most memorable offering is “Strawberry Swing,” a love song couched in soft syncopation, its dreamlike delivery creating a sonic pillow.
That mellowness and beauty are the hallmarks of the cohesive “Viva,” which finds Coldplay at the peak of its creativity.
“America’s Got Talent” - who knew?
Melissa Ruggieri
June 18, 2008 12:28 AM
I’ve always shoved “America’s Got Talent” into that pool of reality shows that includes things such as “Nashville Star” and “The Bachelor.”
Not as heinous as, say, “Celebrity Circus” or “ The Baby Borrowers,” but Shows I Would Watch Only If My Other Choices Were The NBA Finals Or Larry King.
So last night, given the choices, I tuned into part of the season three premiere of NBC’s “Talent.”
I will admit that my embarrassing obsession with “Celebrity Apprentice” this spring turned me into a Piers Morgan fan. I knew he was the Simon Cowell of the “America’s Got Talent” (handy, as the two are friends and Cowell created the show). But his ruthless pursuit of that bottom-feeder known as Omarosa combined with nasty-tinged shrewdness and a British accent that makes everything sound cooler confirmed my membership in the Piers fan club.
<<< Piers Morgan
Granted, I’ve always loved Sharon Osborne and find David Hasselhoff (hereby referred to as “The Hoff”) a continually watchable buffoon, but my interest in jugglers and square dancers hovers around the level of cleaning the litter box.
So imagine my surprise when I flipped over from yes, the NBA Finals (hooray, Boston!), caught the last half of 4-year-old Kaitlyn Maher’s incredibly sweet (if a little, uh, pitchy) take on “Somewhere Out There” and found myself teary-eyed while watching the mini-Celine stare big-eyed as the judges poured on the plaudits (http://www.nbc.com/Americas_Got_Talent/video/index.shtml#mea=266081).
I don’t even like kids – but this one is cute to the point that I actually want to watch the show now and see if her tiny dream gets shattered when that male Britney Spears impersonator or that fabulous opera singer Neal Boyd beats her to the finals.
Of course you expected Sharon, with her maternal instincts, to ratchet her voice to that level she uses to talk to her Pomeranians when praising Kaitlyn. And The Hoff, well, he’s going to drag out the drama to keep the camera on him as long as possible, so his long-winded congratulations to the kid were expected.
But when Piers, my brother in jaded-ness, looked misty when telling the little girl that she was easily the best 4-year-old contestant the show has ever had (she’s also the youngest ever), I felt that same tug at my heart that occurs whenever Simon Cowell rolls his eyes and tells an “American Idol” contestant “you have just invented a new form of torture.”
Now, I am hooked.
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