The Seven Song Itch - Interpretive Female Covers

Awards season is coming to a close, and I can’t help but get a bit of nostalgia as last year’s music comes back for a reprise.  In their acceptance speeches, artists thank managers, engineers, and other people that are important to them.  Influences are mentioned and then there is the moment in the broadcast where we remember those who have died this past year and reflect upon their contribution of the musical landscape. At these moments, I remember the songs that I’ve grown up with and how they affect my life.  If you ask these artists, some would cite influences that you would have never suspected in the development of their own sound.  The Rolling Stones, as well as AC/DC, cite many blues artists as being essential in their development.  Even Martina McBride did a show on CMT called Crossroads and praised the music of Pat Benetar.  The two divas spent the whole broadcast, mixing it up, by dueting each others music while putting their own spin on the songs.  Seeing Ms. McBride sing, “Promises in The Dark,” a classic rock star anthem, with Ms. Benetar gave me chills.  I thought about how jaded some people get when an contemporary artist covers another artist’s song and that the complaint is that it’s not as good as the original, or that the cover artist is just being uncreative.  There are two schools of thought about covers; one, is it true the original and/or two, does it bring something new to the song?  I tend to go back and forth between these two schools depending upon a myriad of factors and it would take too much time, and a lot of debate, to convey what I really like about a song.  I offer the artists of Motown (The record Label) as a concise example on what other artists, in the same genre, can do with the same song.  Even the Beatles began their career covering other contemporaries in developing their own sound.  So, in lieu of that discussion, I’ve come up with a list of seven songs that I think fall into both camps.  Some take the song into a new direction, which I like, while others are very respectful to the original composition.  And what makes this list all the more interesting is that it that all of these covers are done by female artists, when the originals were sung by males.

Here is a Playlist of the covers, as well as the originals.  Interpretive Female Covers

1. Tina Arena–“Only Women Bleed”

(2009—Original by Alice Cooper, 1975)

The original madman of the seventies, Alice Cooper composed this ballad back in 1975 as a part of his first solo effort, “Welcome To My Nightmare.”  Originally it was listed as, “Only Women,” and did not include the “Bleed” part because it was thought to have been too visceral for audiences at the time.  This is a profound song because it is one of the first that addresses an abusive marriage in music.  Tina’s vocal, as well as the musical arrangement, really pulls at your heart and coveys a more personal view of a woman experiencing marital abuse.  Alice’s version is brutal, but Tina’s interpretation is more intimate—it still gives me chills.

2. The Bird and the Bee-“How Deep Is Your Love” 

(2008—Original by Bee Gees, 1977)

This song hails from seminal movie, “Saturday Night Fever,” back when Disco was king.  Though I’m not really a fan of this genre, I’ve always found The Bee Gees lyrics cut straight to the heart of the matter, with some exceptions of course.   Both versions of this song have a dreamy aspect to the music, but The Bird and the Bee’s version has a pillow talk feel, while the original version has a late night romantic candle light diner vibe.  I don’t know why, it just feels that way.

3. Katie Melua–“Just Like Heaven” 

(2005—Original by The Cure, 1987)

This is a gentile version of The Cure’s gothic love ballad.  Katie’s version has simple and playful nature, which is present in the original version, but doesn’t shout it out from the edge of a cliff.    I love both of these songs equally.  Sometimes you want the world to know that you are in love, and sometimes you just want one person to know.  Either way, this song is truly, Just Like Heaven.

4. No Doubt-“It’s My Life” 

(2003—Original by Talk Talk, 1984)

This song originally came out in the heyday of the New Romantic Movement and contemporaries like Ultravox, Visage, Duran Duran, Spandau Ballet, ABC and Boy George (of Culture Club).  This music was a staple in the very diverse decade of the 80s.  The both versions of this song sound similar, but No Doubt’s version inspires intrigue.  I always thought that the original song had a kind of self-deprecating sense (no offense), in that it comes across like Mark Hollis is complaining.  Now, I love Mr. Hollis’s voice because it has an angelic aspect, however, with the newer version, Gwen Stefani’s black widow portrayal in this video has all the scandal and none of the crime, well at least for her supposed victims.

5. Sixpence None The Richer–“Don`t Dream It`s Over” 

(2003–Original by Crowded House, 1986)

This was Crowded House’s breakthrough single, but Leigh Nash’s vocal gives it a more bright tone.  Her version doesn’t stray too far from the original, but takes on a different feel with a female voice.  It’s more of a reassuring sentiment rather than I warned you tone.  This may not be the intention of the song, and this is only my opinion, but the song has a profound message about relationships, and I wanted to highlight the lyrics of this song.

6. DJ Sammy–“Heaven” 

(2002–Original by Bryan Adams, 1984)

Ah yes, the power ballads of the 80s make me wanna wave a cigarette lighter among other fans in a stadium.  The original Brian Adams version has this wide-open sound, and there are several versions of the DJ Sammy remake, but I like the ‘candlelight’ mix of this record.  It has a simple arrangement, and sometimes that’s all you need for a great song.

7. Atomic Kitten–“The Tide is High” 

(2002–Original by The Paragons 1967)

Atomic Kitten was first conceived in 1997 by Andy McCluskey of 1980s band Orchestral Manoeuvres in the Dark.  The original line-up featured, Liz McClarnon, Kerry Katona and Heidi Range (now in the group Sugababes), but Range decided to quit due to artistic differences, and was replaced by Natasha Hamilton.  Yeah, Blondie did a cover of this song back in 1980, which I love, but the original version was recorded in 1967 and performed by The Paragons.  Atomic Kitten’s version still has the Reggae flavor, but is infused with pop sensibilities that make the song practically gallop.  It’s wonderful how music can cross lines and combine two flavors that may not appear to have something in common and produce something fun.  It’s like when Punk Rock groups started to incorporate Reggae into their sound (Look up The Clash) and in response to this, SKA and other genres of music were born—but that’s another list.