One More Cover

This one should have been on The Weekend Mix, but it inadvertently ended up in the folder below the one I was compiling.

First time I saw Susan Cowsill outside of television clips of The Cowsills, was at NYC's Bottom Line for one of those "Beat Goes On" events where a house band picks a theme and guest vocalists appear one after the other singing the program. I don't recall the theme of this particular night, but I will never forget Susan Cowsill delivering a huge, soulful version of Dobie Gray's "The In Crowd." It felt like the coolest thing ever at the time. I simply had no idea that her voice had such depth and purity.

Since then I have become a fan of her solo work, especially those great New Orleans nights at Carrolton Station called "Covered In Vinyl," where she and her friends, including members of the Continental Drifters, as well as some of the best New Orleans musicians around, would cover entire records, anything and everything from Band On The Run to Ziggy Stardust to one of the best nights, the Mamas & The Papas, "If You Can Believe Your Eyes & Ears." (Somewhere out there, you can buy that performance and I highly suggest doing so.)

Her version of this Beach Boys tune is pretty great, too. So, here it is.

Songs Of The Week, 2016: 2/20-2/26

Red Sun- Anoushkar Shankar
Art School Canteen- Godley & Creme
Rumble-Link Wray & The Wraymen
Funky Cold Medina- Tone Loc
Stuff & Nonsense- Split Enz
When She Cries At Night- Delbert McClinton
An Ocean Between Us- The Galaxies

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THE WEEKEND MIX: When All Else Fails...COVERS

This mix isn't a complete act of desperation to get something up last minute. I had been listening to a few live performances from the New Orleans Jazz Fest, getting nostalgic for those "first times." Like, the first time I saw Allen Toussaint in the flesh. Or, the first time I discovered (through a friend) the great Jon Cleary. And there was that day, the very first time I stepped foot onto the Fairgrounds, not knowing what was ahead of me. Suddenly, I was twenty feet from a whole lotta horns and a great drummer, and was listening to something I recognized but couldn't quite place. And when I did finally realize what song was being played, I fell forever in love with New Orleans. The song was Black Sabbath's "The Wizard" and the band was Bonerama. And that's where it began and where we begin today.

(The pic is Craig Klein and Mark Mullins of Bonerama taken on that very same day in 1999, maybe even during "The Wizard." I do stuff like that.)

I thought I'd continue with more live covers from Jazz Fest, but changed course, when sound quality started to become an issue. So, it's just covers. That's okay. We like covers, right?

Some you may have heard before, probably because I repeat myself occasionally. But go in again. There are some great ones here, including a few faves like Cyril Neville's take on Dylan and Los Lobos getting gritty with Queen. Hell, I like them all.

Original artists in parenthesis after title.

Enjoy.


TRACKLIST

The Wizard (Black Sabbath)- Bonerama
I Wish You Would (Billy Boy Arnold)- JD McPherson
Baby, I Love You (The Ronettes)- Jason Falkner
It's A Shame (The Spinners)- Raphael Saadiq
Girls It Ain't Easy (Honey Cone)-Ken Stringfellow
Sleeping On The Sidewalk (Queen)- Los Lobos
It Don't Matter To Me- (Bread)- Matthew Sweet
Kings Lead Hat (Brian Eno)- The Dirtbombs
My Girl (The Temptations)- John Hiatt & Loudon Wainwright III
Bus Stop (The Hollies)- Fountains Of Wayne
I Want You (Bob Dylan)- Cyril Neville
Harvest (Neil Young)- Rufus Wainwright & Chris Stills
Won't Get Fooled Again (The Who)- Richie Havens
Like A Rolling Stone (Bob Dylan)- Phil Flowers' Flower Shop

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And That's How It's Done...

Funky Wednesday

When I listen to Bernard Purdie's cover of Aretha's "Day Dreaming," part of me feels like I am on hold with American Airlines. Yet, there is something very...uh...groovy about the arrangement.  It's addicting, as is the vibe of the entire "Soul Is...Pretty Purdie," a record I hadn't heard about until my friend had been playing it in his record store while I shopped. I convinced him to sell it to me for $5.00. Apparently, this record has been a cult favorite since its release in 1972. I get it. It's been on heavy rotation since I got it home.

Get funky, people. Just don't hurt your clavicle.

Vinyl Is Bad

I won't pretend to be a television or film critic, so I will keep this very basic. I hate the new HBO series "Vinyl." I hated the second episode less, but the two hour Scorsese pilot was garbage.

I tossed out some reasons elsewhere and was swiftly berated by one person who all-capped me with a "YOU WEREN'T THERE!" Well, I was kind of there, maybe not in the A&R room of Warner Brothers, or in the Mercer Arts Center when the building collapsed on the New York Dolls, but then, no one was, as the building did not collapse on the Dolls. But I did see Led Zeppelin at Madison Square Garden in 1975. I even played Max's Kansas City, though long after anyone cared. My point really isn't about my credentials. I never worked on the docks, but I loved "On The Waterfront." That's my point.

The two-hour pilot felt like "Casino" without the card tables. It had all the gratuituous Scorsese tricks and grotesque violence that stopped being exciting after "Good Fellas," only this time, the music and references felt forced, even hokey at times. I guess this is how Marty sees things. (I wonder if there is a Director's Cut of "Kundun," with a Buddhist being garrotted to the tune of "I Ain't Superstitious.")

I'm also not enjoying the part fact/part fiction approach. You've got actors playing the members of Led Zeppelin, Ian Hart as fat Peter Grant, but fake Led Zeppelin music. Obviously, Jimmy Page did not sign off. I mentioned the Mercer Arts Center collapse already. And then there are the Nasty Bits who might very well be Richard Hell's pre-Voidoids band, but certainly didn't exist as the Nasty Bits. And speaking of not exisiting, what about Lester Grimes? Most likely a composite of every R&B artist who got the shaft. All of this with true-ish references to Donny Osmond, Abba, Velvet Underground and of course, England Dan & John Ford Coley. What a mess.

And speaking of Richard Hell, his review of the first episode really nailed it with this paragraph:

"You come to the series looking for music and what do you get? Bulky Italian-American peacocks so crazed by craving for coke that one of them tears the rear-view mirror off his luxury car for a surface to snort from; or two of them excitedly bashing in the head of a vulgar ally before wrapping his corpse in a table cloth and driving it in a car trunk to a dump spot; a prolonged extreme close-up of a fizzingly dynamic cigarette lighter flame against darkness; nonstop soundtrack of rock and roll, soul, funk, blues, punk, and disco pop music. It’s all routine Scorsese shtick, but cheaper."


I'll stick with it for a bit longer, but "Vinyl" has been woefully unpleasant so far. I am neither enthralled nor entertained. When I am not bored, I am repulsed.

Songs Of The Week, 2016: 2/13-2/19

Expecting To Fly- Buffalo Springfield
Used To Be My Used To Be- Bram Tchaikovsky
Things- Dean Martin
All About You- Rolling Stones
Planet Queen- T. Rex
Everyting'll Turn Out Fine- Stealers Wheel
Yours Eternally- Sugarcane Harris

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Weekend Mix: "I Don't Know My Jazz From A Hole In The Ground"

"I've got no kick against modern jazz,
Unless they try and play it too darn fast,
And lose the beauty of the melody"

-Chuck Berry nailed it in 1957

Sal warned me that a few of his Jazz mixes didn't go over so well, but that's exactly my point. This collection is for people who don't think they like Jazz. I'm one of them, after all, because I think a great deal of it is boring. Too many notes going nowhere as fast as they can. Where is the tune?

Shane Theriot hails from New Orleans and is currently guitarist and musical director for "Live At Daryl's House". His "Sanford and Son" (2000) seemed like the perfect place to start.
"Jungle" (1995) by Jef Lee Johnson is one of several tracks featuring vocals. Purchased as a cut-out from Sal back in the day. The rest of the album, "Blue" is just as good. Unfortunately he passed away at 54 in 2013.
"Elephant Walk" (2009) by Israeli guitarist OZ Noy is the funkiest and loosest of grooves in the best possible way.
"Kimotion" (2001) Composed and conducted by guitarist Kimo Williams is pure exhiliration.
You're excused for thinking "You Can't Sing, You Can't Dance" (2013) by Serbian guitarist Dusan Jevtovic is Hard Rock. More like mid-period King Crimson than standard Jazz. One of the baddest songs I know.
"Pineapples & Ashtrays" (2015) is best described as "Surf  Noir". Led by Saxman Bryan Beninghove, the Hangmen are an incredible live act. Highly reccomended
James "Blood" Ulmer got his start with Ornette Coleman but really made a splash in the early '80's with his angular idiosyncratic guitar style. "Black Rock" (1982) somehow manages to sound like both Captain Beefheart and James Brown.
"Sacred Emblems" (2014) is more Surf than Jazz.  From "Psychomagia", the second album by Abraxas, led by Shanir Exra Blumenkranz, performing compositions by John Zorn.
"Keep The Bugs Off Your Glass And The Bears Off Your Ass" (2003) The Bad Plus. They've been called a "jazz power trio with a rock n roll heart." The melody is as much fun as the title.
Singer, musician, songwriter, producer Cassandra Wilson's take on "The Last Train To Clarksville" (1995) is one of my all-time favorite covers.
Bill Frisell, an incredibly versatile guitarist contributes the only ballad. A lovely rendition of Bob Dylan's "Just Like A Woman"(1992)
"Footsteps"(2012) by The Fretless Brothers truly unique exploration of microtonal guitars and tunings makes this track wonderfully disorienting.
"Storm The Reality Asylum" (1982) features the vocals of a very young Neneh Cherry with her stepdad Don sitting in on trumpet.
"Silent Land" (1981) Material, formed by Bill Laswell in 1978, went on to become an integral part of, and define the post No Wave downtown Jazz scene.
"Breathe" (2014) from a Big Band reinterpration of the Pink Floyd classic, "Dark Side Of the Moon".
"Tobago Tango" (1986) Art Ensemble Of Chicago were the first Jazz band I really loved, Probably because they annoyed many Jazz fans by playing music that seemed like anti-Jazz. This is their most accessible moment.
"Come As You Are" (2003) Pink Freud. From Poland. Nirvana cover.


I Don't Know My jazz From a Hole In The Ground


Enjoy!
-BBJ

Dis, Dat, Or De Udder: Singles Vs. Album Tracks

Our pal Steve Simels over at Power Pop posted a track by Stealers Wheel called "Everything'll Turn Out Fine," their follow-up flop to "Stuck In The Middle." He specifically posted the single version, pointing out that the album version had been "hideously re-recorded" for their second album. I focused on the word "hideously" for one reason. I love Stealers Wheel's second album, "Ferguslie Park," especially "Everything'll Turn Out Fine." The entire record is wonderful, no different really than an Emitt Rhodes record. I highly recommend this fantastic record from Gerry Rafferty and Joe Egan, if you're only familiar with the hit. But I digress.

So, what's so hideous?

I'll tell ya.

I had never heard the single version of the song until Steve posted it. It is superior. Definitely not "hideous," but much better. And if I had heard it first, I think I might have felt the way Steve feels. I posted the single version as the Song Of The Day and the re-record above. Take a listen to both, single first, and see what you think.

This also got the wood burning.

I thought about the U.S. single version of "Rebel, Rebel," which I think blows away the too long album version. The 3:00 run time is plenty, and with the added congas and tambourine and backing vocals, the song, for me, becomes less monotonous and plodding. The 45 really takes off.

I also thought about two Elvis Costello 45s- the U.S. version of "Alison," which I think most people, including Elvis, despise. Personally, I think the added strings and harmonies work well. I'm not saying it's better, but it's one I go to occssionally. The other is a lesser known tune from "All This Useless Beauty." The single version of "It's Time" removes the bridge completely and keeps things moving. That bridge is clumsy and it adds over two unnecessary minutes.

While the examples I just gave are not re-records, they do highlight how a few knob tweaks in a studio could make or break a tune. For two examples of how those tweaks broke a tune- check out the horrible edits on the single versions of Bowie's "Young Americans" and 10cc's "I'm Not In Love," the latter having the whole point carved out like a pumpkin.

Do you have any preferred versions? If you can, please no "acoustic" or "live" versions. I'm looking for alternates, whether a single versus an album version, or a re-record.

Because Not Everyone Reads The Comments...

 Here is a summary of The Grammys I quite like, posted by, of course, ANONYMOUS.



•I thought Alabama Shakes Don't Wanna Fight No More was a real song and a damn fine performance.
 
•I think Gaga shoulda forgone the Vegas Medley route and done this: 
The same Space Oddity projection FX opening, sung the shit out of a gorgeous emotional arrangement of "Heroes", then sung a restrained and beautiful Lazarus.
Mic drop.
 
•The Eagles and Jackson Browne did what was needed from them. It wasn't great musically, but it was the correct tribute.
 
•I didn't love the Hollywood Vampires set, but I kinda hope it made Justin Bieber's little group tinkle in their frilly panties a little.
 
•Considering the technical problems, I thought Adele handled herself well. It's not easy to sing for hundreds of millions of people with a de-tuned instrument underneath you. Many woulda walked off in tears, she went out for a burger, apparently ( her words, not mine )
 
•Kendrick Lamar yelled enthusiastically and convincingly over a lot of visual overkill and hubbub behind him, yet was unable to find a song in there anywhere.
 
Aside from that, not a lot of actual songs on display.
 
Look online to see it all summed up in video of the symbolic real world act of Paul McCartney being turned away with Beck from a Grammy party thrown by someone or something named Tyga. When told of the snub by his doormen, someone who apparently answers to the name Tyga was not particularly bothered. There's the Grammys 2016 in microcosm. 

I'd like to add:

After being turned away, Sir Paul looked at Beck and said, "How V.I.P. do we gotta get? We need another hit guys."

I want to know what was going on at Tyga's party that Paul McCartney chose his over all the others.

Hey, Hey...We're The Grammys

Some stuff:


•I thought Lady Gaga was supposed to perform a tribute to David Bowie, not Lola Falana's Desert Inn act of 1976. Still, that wasn't the worst part of the evening. That honor goes to Tori Kelly and James Bay, two Best New Artist nominees who stood across from each other, doing their best to out-melisma the other for four horrid minutes. Tori? James? In the future, please shut up.

•For some reason, maybe it was temporary devil possession, I didn't mind the Carrie Underwood and Sam Hunt duet. Then this morning, while I was looking through various videos to find a version of the Sam Hunt song to post, to prove to myself I wasn't crazy, I decided I was. So, nevermind. "Take Your Time" is pretty bad, or at least by Sam Hunt it is. That one might need a new arrangement and new performer.

•I'm supposed to think The Weekend is terrific, right? Didn't someone mention him last week, as one to watch? The crowd seemed to swoon after his performance. For the record, I did not swoon. I fidgeted. Scratched my head and elbow. Checked my phone a few times. Seemed pretty average to me.

•Back in the 80s, Lionel Richie was everywhere. You could not escape his "All night, all night, all night, all night." I never loved his songs back then, but I didn't mind those songs, though I do have some not so fond memories of hearing "Truly" more times than I needed to. Last night's tribute to Richie, who received a Lifetime Achievement Award, was my favorite moment of the night. Those songs sounded fresh, and what I once considered mediocre, a song like "Penny Lover" say, sounded like George Gershwin compared to all the actual crap that was nominated.

•Adele had some "technical difficulties." Apparently, a microphone dropped into the piano, untuning a string, causing Adele to sing most of the song horribly flat. I understand something like a microphone dropping into a piano can rattle you. But one day, after a few more years of hard work and payin' dues, Adele will be a pro and rise above such adversity.  

•Maybe it's a tired practice to recap a show I shouldn't be watching to begin with, but I've watched this show since the days of Andy Williams and it's hard to stop now.  I watch, hoping to find one song or one performance to wow me. Kendrick Lamar's performance did that, though I will admit, "To Pimp A Butterfly" simply doesn't work for me. I've tried a number of times to wrap my head around the most critically acclaimed record of the year and to understand its brilliance. But, like "Blade Runner," I get rattled and frustrated about 30 minutes in and throw in the towel. Maybe, "To Pimp A Butterfly" will be my new "Blade Runner," where once a year, I take it out and go in with a new head, in an attempt to find out what so many already seem to know. Great performance, Mr. Lamar. Sincerely.  As for the album, same time, next year?

•Oh, and I really think Sam Smith is horrible. Not sure if he did anything but present last night, but still, I don't want to miss an opportunity to express how much I think he's bullshit. 

•On a truly positive note, my man Jon Cleary, someone I've written about dozens of times, won "Best Regional Roots Album," a category created about 2:25 Saturday afternoon. "GoGo Juice" was one of my favorite records of the year and in a just world, would have been an enormous success. So congratulations Jon! You absolutely deserve any and all accolades that come your way.

Songs Of The Week, 2016: 2/6-2/12

Mr. Wilson-John Cale
Shorty Falls In Love-Dan Hicks & His Hot Licks
Too Soon Gone- Jules Shear
That's What Life Is All About- The Beat
Downbound Train- Bruce Springsteen
Baby That's A No No- Barbara Lewis
Blackbird- Jonathan Batiste


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Lisa Ronson

I had been wanting to listen to Lisa Ronson's record ever since I read the rave review in Uncut claiming "not one bad song." I realize I should take that statement with a grain of salt, especially after perusing their "200 Best Records Of All Time" list, where all you need to know is that The Smiths "The Queen Is Dead" came in at #8, higher than 192 other records including "Rubber Soul," "Exile On Main Street," "Kind Of Blue" and "What's Going On." But let me not fall down that rat hole.

Lisa Ronson is Mick Ronson's daughter, and the subject of the old Ian Hunter radio staple "Lisa Likes Rock N Roll." Her new release "Emperors Of Medieval Japan" features a few David Bowie family members including guitarists Earl Slick and Reeves Gabrels, as well as Mott The Hoople keyboardist Morgan Fisher.  I just had to.

I am not disappointed.

Intentionally or not, "Emperors Of Medieval Japan" sounds like a journey through various stages of David Bowie's career. There are elements of the Berlin Trilogy, some upbeat electronica not unlike what is found on both "Earthling" and "Heathen," and some big balls rock sounding a bit like Tin Machine, all with Ronson's very Siouxsie Sioux approach to singing.

It's too early to tell if "Emperors..." has any lasting power. The songs themselves could use a bit of work, but as a record, I was engaged for two full passes.

The title track is up top and the track below, "Get To You," features the aforementioned Mr. Slick on guitar.

Sting, Where Is Thy Death?

There is a meme floating about social media that says, "The record companies have done a good job of fighting piracy by releasing music no one wants to steal." I like that, even if it does stir up the same old debate about the state of music. But in the wake of a few more deaths--Maurice White, Dan Hicks and Coldplay--I can't help but think that at some point, all of the artists that we have been taking for granted for years now, will stop making music, whether they want to or not.

Many of our heroes are getting up there in age and the reality of hearing new music from these great artists is dwindling. Then what? Am I supposed to get all sweaty with excitement when the news breaks that a new Dawes record is coming out? Or when a new one hits from Savages? (I don't quite get Dawes and I quite like the new Savages. Just making a point.) There must be a roster that can be put together of current artists to rival the masters. Right? I'm just not the one to do it.

The New York Yankees had amazing teams throughout their career, especially the years 1927, 1961 and 1998. How about the 1986 New York Mets? We don't need to be reminded of the rock and roll names that would be the equivalent of those teams. You know exactly who I am talking about. John, Paul, Bob, Mick, Keith, etc. It's 2016. Anyone care to put together a championship lineup of active players that you foresee carrying the legacy of the legends from the 60's and 70's? For the life of me, even in my most positive and most accepting frames of mind, I just cannot. I don't care how much I love the new J.D. McPherson record or how "cool" the Parquet Courts might be, or how "interesting" Father John Misty is.

How about Hinds? Would they be your first round draft pick?

Songs Of The Week, 2016: 1/30-2/5

Mama, You Been On My Mind- Allen Toussaint
For What It's Worth- Buffalo Springfield
All My Life- Harry Nilsson
Imagine The Swan- The Zombies
One Day- APB
You Don't Even Know Me- Al Stewart
Roll Away The Stone- Leon Russell

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Weekend Mix: "Long Long Day"

"It'll be easy" I said to myself, "Just throw something together", I lied. A good mix goes through several permutations. Getting everything to flow, so that it follows a thread, is always a challenge.

Who knew The Hudson Brothers were capable of producing such a slab of prime Pop/Rock, sounding as much like late-period Beatles as Badfinger? This was always the opener and really set the tone.(1974)
Legend was led by Mickey Jupp. The drummer left shortly after this (1971) to join T-REX, where he became known as Bill Legend. Fat bass-line reminds me of Macca.
"Lonely Blue Boy" (1958) is one of those songs everyone should hear. Vocal crick as art.
"The Power Of Your Love"(1969) from the sessions that produced "Suspicious Minds". The last time Elvis was thouroughly engaged and at a creative peak in the studio. Long Live the King.
"In The Ghetto" was written by Mac Davis and recorded by Elvis in 1969. Given recent happenings in Chicago, it seems particularly relevent. This version by Nick Cave (1984) was when I realized he had a future after The Birthday Party.
"Sam" (1969) is a rare slice of midwestern psychedelia. Unreleased until 2013. It features the singing of Linda Bruner, who recorded 4 songs and vanished.
"Dripping With Looks" (1987) is a massive riff I never get tired of.
"Little Bit Of Magic" (1969) is very rare. Rosco originally recorded for SUN, in Memphis. His early singles featured a piano style which contributed to the formation SKA in Jamaica. Rosco left music during the '60's, moving to Queens to run a Dry Cleaners.
In 1969 he cut this single and released it on his own label. In the '80's he briefly returned to music, but stayed with his original SUN material. It's too bad he didn't make more music like this. What a voice! I imagine Bryan Ferry covering it back in the day.
It's hard to believe "Electrify Me (1979) was considered punk rock when it came out. I hear a little RT in the guitar breaks.
If Nick Lowe and Rockpile never covered "Move It Baby" (1964) they should have.
The Shazam (2002) drop some classic Big Star style pop/rock. These guys deserve a bigger audience.
I love everything about "Pass You By" (1996).
"Wonderin'" (1983) is the only keeper on "Everbody's Rockin". It was written in 1970.
"WPLJ"-Frank genuinely loved Doo Wop and R&B. From "Burnt Weeny Sandwich". I keep meaning to try it. Not the radio station.
Swamp Dogg, not Snoop Dogg. From "Total Destruction Of Your Mind" (1970).
"I Got It all Indeed" is the only song I know from "Theosophy", Pete Molinari's 2014 album.
"Life Is Good" is one of my favorite songs from my favorite Los Lobos album.
"Jimmy Was" is the title music from "Sling Blade" (1996).
I've always thought Pavement's Stephen Malkmus' voice sounded a little like Jerry Garcia's, and the gorgeous pedal steel on this song really makes the case.
"Chicken" (2014) by Bill Patton brings things down to a gentle simmer while we get a little introspective.
"I Remember Cissy's Baby and the noise on the block,
And seventeen policemen that were in a state of shock,
She had it on the pavement she had it on the ground,
out popped the baby with the cops all around,"
-(1970) Jake And The Family Jewels. Some fine storytelling. It just goes from there.
"Gone Like the Water"(1996) by Freedy Johnston is beautifully rendered. Perfect.
John & Beverly Martyn made two albums. "John The Baptist" is from "Stormbringer"(1970). His early work is some of my very favorite music, but soon he went MOR and made some records I'd rather not think about.
This demo of "Seeing" is far superior to the version which turned up on "Moby Grape '69". Featuring Skip Spence's original vocal.

Enjoy!
-BBJ


Long Long Day

Turn Around. Go Back.

I have been toying with something for a few days but I didn't want it to be about bad cover versions. Been there, done that. Though, it is a fun topic, I decided it could be more about missed opportunities. Let me explain.

Many moons ago, I mentioned in passing to a band member that Hall & Oates should cover the Righteous Brothers' "You've Lost That Lovin' Feeling." It would be a massive hit for them, I said. (So did scores of others, I presume. But I heard me say it.) Then, one summer afternoon in 1980, while shooting hoops in the Sheepshead Bay backyard of my friend John, it came on the radio. This was long before the internet and Stereogum, so there was no pre-release sample or build-up. No sharing of news on Facebook. This blew me away.

About ten years after that, I did read that a tribute to Elton John was about to be released on CD and that Hall & Oates were slated to record "Philadelphia Freedom." Genius, I thought. This is perfect. This will be as huge as the Righteous Brothers hit. But it wasn't. As a matter of fact, it wasn't very good. Completely devoid of any soul or emotion, this track felt lifeless, unlike what Elton originally released. How did five English guys nail it and two Philadelphia boys muck it up?

Now some of you might be thinking, "This H&O cover isn't so bad." Well, maybe it isn't. But this isn't about bad cover versions. It's about missed opportunites. This cover should have been massive. It's an A&R guy's dream.


The example I wanted to use instead of Hall & Oates was unavailable for evidence. No video on YouTube and all versions have been safely removed from my music library to avoid any possible infection to my other music. This was from my man, the pop genius, the Posy, Ken Stringfellow. He recorded one of my favorite songs of all time from one of my favorite albums of all time for a Left Banke tribute record. When I saw the pre-release info and spotted "She May Call You Up Tonight" by Ken Stringfellow, I thought, "This will be the best cover version ever." The Posies had already done what so many fail to do, and that is create a cover better than the original. They did that with their version of the Five Stairsteps "Ooh Child." (See below) They played it straight, but reached new heights with harmony and arrangement. It was like the finale of a Broadway musical, with power chords and a kick-ass rhythm section. And check out the genius move in the coda. You'll recognize another A.M. hit from the 70s.

But back to Ken for a minute. Instead of what I just described above, the Left Banke cover was two minutes of sped up drum machines, chintzy keyboards and vocals that sounded like they were recorded inside a giant tuna tin. Needless to say, I was crushed. What could have motivated this master of vocal and harmony to pay "tribute" in this manner?

Well, I guess this would be both a bad cover and a missed opportunity.

So my question is, do you have examples of "missed opportunities" but not necessarily bad cover versions?