Between The Covers - Part VIII

MC5 created a blizzard of punk noise long before the genre even existed

Hey kids... and grown-ups! Today I'll talk about some more cover songs, with insight into both the original and the version as played by another artist. The tunes I discuss here are very often ones that I happen to like a lot, either the original or its cover, or occasionally both. Okay, enough idle chit-chat. Let's get on with things...

Jesus is Just Alright, by the Doobie Brothers, has long been a favourite song of mine. I think the most impressive thing about this track is how, even with the very repetitious lyrics, it is one kick-ass rocker. Released on studio LP and as a single back in 1972, JIJA first came to my attention when I bought an audio cassette of the Doobies' greatest hits when I was in my mid-teens. A great compilation loaded with funky, rocking songs... and Jesus is Just Alright was among my faves right from the get-go. Still is.

The percussion is out of this world, with the drummer wailing a storm on his kit AND what sounds like a conga player going full tilt on his skins.

Searing keyboards and cutting guitars drive this thing to frantic, joyful levels. About midway through the song, there's a lengthy super-mellow section highlighted by a soulful guitar solo. This segues into a manic funk-rock finale that rivals any other. The Doobie Brothers are noted for their unison vocals, and they truly shine on this number.

The song was a hit back in '72 and made Billboard's Top 40. And this wasn't even written by the Doobies. No, Jesus is Just Alright was actually a gospel tune written by The Art Reynolds Singers, and its first recording was released back in 1966. It has been covered by many other artists since, including The Byrds in '69 (a far groovier version, lacking the fire of the Doobies' rock interpretation).

The original is actually pretty good even by today's standards. Just a touch awkward in rhythm - the drums feel a bit off, not quite in sync (or just not necessary?) with the vocal performance. But it's the singing that impresses most. The piano and (I think) little guitar accents barely register once the powerful voices kick in. Cool. As an historical note, I'd say it's worth checking this out. It's short and sweet at just a hair under two minutes.

Next up is the song California Man, which for the longest time I thought was written by Cheap Trick. When I was a young teen and first latched onto Trick, I sought out all their existing albums to that point, including the 1978 huge hit LP, Heaven Tonight. California Man appeared on that record, and man, I played that thing to death. One of the rockers on an album of pretty lightweight pop, it immediately caught my ear. The song simply sounded so Cheap Trick that there was never any reason to think it belonged to anyone else. Of course, at that tender age, it never occurred to me to look at the song credits and see that some other mooks wrote it. Anyway, the raucous tempo, with Carlos bashing his wee kit and some nifty electric piano flourishes, nearly sent this through the roof... until axe nerd Neilsen whips out a fiery lead solo. Crisp metallic guitar chords take the tune to its bold finish.

It was many years later that I learned that California Man was originally written and recorded by, then released in '72, by some group called The Move. Never heard of 'em. Their version sounds very early rock'n'roll, with saxophone all over the place, and a tinkly piano solo. The riffs are there, but it's got a vibe so unlike Cheap Trick's ultra-cool rendition that I just can't quite get into it. Whatever... at least I know the song's roots.

Now on to something by Blue Oyster Cult, a band I've always found fascinating yet never fully explored. I've had a "hits" CD and one of their studio albums for decades, and only a few years back picked up another studio LP on vinyl. One of their crazier rock'n'rollers (more party tune and less sci-fi excursion), Kick Out the Jams, appeared on the 1978 live album Some Enchanted Evening. This energetic locomotive tune simply does not let up... deranged guitar riffs and licks charging full speed ahead, aiming directly for the Dharma's pinnacle solo.

It was only years later that I heard the original version from 1969 by MC5, who I hadn't even heard of 'til that moment. These guys are credited with being punk before punk became a thing. Their sound is a proto-hybrid of musical genres yet to emerge. This is approaching metal, or at least hard rock, with its angry, noisy groove and punk-ish vocal snarl. The MC5 version is a bit slower, grittier, and possibly heavier than the BOC rendition.You know, I think I like this even more than BOC's take on it. This is not as cluttered-sounding and hurried as the BOC cover. There is more kick to this MC5 track. Quite cool.