Between The Covers - Part V

Today we're back to examining cover songs, and I'd like to begin with something associated with the "comeback" of Johnny Cash in 1996: 

Rusty Cage, originally written and performed by Seattle grunge-metal-heads Soundgarden, found new life when it was re-interpreted by country legend Johnny Cash in his twilight years. The original, released in '92, benefited from Chris Cornell's tortured vocal wail... though I'm of the opinion that this isn't a very heavy song, more funky than anything (kick-ass bass, for sure). Ol' Johnny Cash brought an entirely new feel to Rusty Cage: rolling acoustic guitar rhythms accented by piano and very restrained percussion... this evokes a rootsy, rustic atmosphere, even when the guitars plug in for the second half of the song. I think I prefer Cash's take on this now-classic rock track. His version earned him a Grammy nomination, nothing to sneeze at.

The Pistols, within spitting distance

Anarchy in the U.K., first snottily snarled by punk gods Sex Pistols back in 1976, was tapped for Megadeth's album So Far, So Good... So What!, released in '88. Metal master Dave Mustaine brought his own vocal animosity to the tune, doing it some justice, but ultimately, this was a forgettable re-hash. The original Pistols song was lean, raw, and vital. The punk ethos dripped from Anarchy, since it was the product of the era. Megadeth's version, after the fact, feels like a tepid mimicry simply adapted to their thrash style. I mean, it's not a complete failure... it just seems unnecessary. And that guitar solo... why? That's a weak solo by any standard, but for either of the Mega-axe-masters, that thing limps along like a crippled puppy. Nope.

Back in 1961, before I was even a glimmer in my mom's and pop's eyes, The Marvelettes, a Motown girl-group, sang a tune that became a radio hit. That was Please, Mr. Postman. But I never knew of the Marvelettes' original until long after I heard the Beatles' cover of it on The Beatles' Second Album. That was my second album purchase as a kid (fitting, almost... though my first was a Monkees record), and though it was jam-packed with Motown covers, I became enamored with those Beatles' versions. They were the first for me, and I never even knew these weren't their songs for many years. 

The Marvelettes' original is a fun, bright example of hit songs of that era and the Motown genre. It's nice, but not something I'd normally listen to. The Beatles' version, on the other hand, bears a heavy backbeat and big guitars. Bring in those Liverpool vocal harmonies and Ringo's cymbal-happy style and you've got something special; to this day, I love - and prefer - this and all the other Beatle interpretations of Motown classics. 

I've never cared much for the 80's group Eurythmics, but I suppose Sweet Dreams is one song I don't mind. Simple yet effective pop songwriting. I can see the appeal even if I'm not a fan. The synth-pop sound works well here and singer Annie Lennox keeps things under control... pretty low-key. Then in 1994, controversial rocker Marilyn Manson adapted Sweet Dreams to his own nightmarish style. It's certainly an imaginative if noisy re-telling, though I find it abrasive (as I'm sure was intended) and harder to listen to... so I'd choose the Eurythmics original over Manson's version any day.