scratch in the sky is the name of the cryan' shames
album that came out in 1967 from these chicago soft/sunshine pop masters whom also added an amazing dash of psyche to all there recordings...
"a carol for lorelei" starts the album off with bells and association(ish) harmonies!! brilliant
ignore what allmusic.com said about this album they are fools the song writing is up to par with the beach boys and others.
if you dig the Association and The Millennium and other fine sunshine pop groups with that mellow groove get it now. the japanese import is worth the extra for the original back cover art work that the sundazed version didn't recreate faithfully. i love 'em

A great torchy song about solitude and lonliness transformed into a thumping dancy powerhouse! Chris Rea was so right in getting Ms. Shirley Bassey to record the vocals on this song and Oliver Adams and Johan Gielen remixed the rather bland original into an amazing fast-paced house anthem!

in my opinion one of the best (or more original) techno/industrial bands of the 90s.
this song combines the force of the music style itself with surprisingly good vocals and interesting lyrics.

This, friends, is the swingingest and most bizarre version of this chestnut you will ever hear. Having recently left the Cantores De Ebano (Ebony Singers), sort of a 60s Brazilian version of Sounds Of Blackness, Noriel Vilela, possessor of an impossibly deep, rumbling basso profundo capable of blowing your speakers, embarked on a brief yet fondly-remembered solo career. This witty reworking of the Tennessee Ernie Ford original replaces the country-western-pop of the original with a rollicking samba-rock rhythm and Portuguese lyrics extolling how much fun samba is, sung by a voice from deep in the crypt that swings like crazy. It stops everybody who hears it dead in their tracks and is the guaranteed highlight of any party. What Messrs. Ford and Travis would have made of it is anybody's guess, but this version refuses to die, having recently become a hit in Brazil all over again, 30 years after its first release. I've heard many, many versions of "Sixteen Tons," but believe me, this one truly runs away with the prize!!

This song is an intriguing one for me, I can never get enough of it! It's one of the easy listening classics from the early 70's and is one of the most perfect examples of the "Now Sound" genre, recorded by a Hawaiian bar band led by lead singer Liz Damon. Interestingly, it is a cover of a song written by Chicago soul songwriter Johnny Cameron and it was originally recorded by Betty Everett on the Uni label. I was lucky enough to find a copy of Betty's original version, but unfortunately her version has never been put on CD.

This song has a delightfully slow tempo and dreamy, romantic lyrics that somehow seem timeless. To me, the song always seemed to be in an older style than its early 70's release date would suggest. The bridge features great horn playing and a wonderful descending bass run.

The original 45 on White Whale Records had a song called "You're Falling in Love" on the flip side, and that song too is a classic, in my opinion.

The original version of this Brazilian classic, it was covered by just about everybody. Has that children's chorus doing backing vocals that the Brazilians seem to love so much.

This Samba Rock tune is written by Jorge Ben. He is really one of the under estimated musicians in the West. Probably because the fact that all of his songs are in Portuguese. He has made and written such good music and was on the footing of Samba Rock, Tropicalia and MPB. Right now one of his songs is a big hit again by Sergio Mendes "Más que nada". This track "a minha menina" will drive you wild because of the fuzz guitar, percussion and again: handclapping. That's also why I like this version by Os Mutantes better then the original by Jorge Ben.

Paul Anka sings esperanto? No, it`s just his italian version of "Put your head on my shoulder". I don`t know the year it was recorded, but I think it were in the late 60`s. Although his italian articulation sounds queer to me (it feels like he red the lyrics from a board) "Abbandonati Amore" is a very nice song and the "Hawaiian" melody is still the same as in the original recording!

A perfect song. I love every note. The mood is desolate, yet warm and reassuring as well. The bassline and guitar playing recall some of the great early-period New Order tracks. The track fades in beautifully with bass, drums, and guitar. The drums and bass are steady, while the effects-laden guitar shimmers over the top. Liz Fraser's vocal is at first understated, until the chorus begins. Her voice soars as a simple piano sound joins the mix. The chords are simple, almost inevitable, but the instrumentation and execution are quite stunning.

Happily, you can hear this song and see the original video at the Cocteau Twins official site: http://www.cocteautwins.com/html/media/video.html.

Proving once and for all that she could carry herself as a solo artist and sing a dramatic love song, Ms. Ross slowed down the tempo and sank her emotions into this wonderful tale of unending love and devotion. The original full-length version clocks in at 6:16 but was brutally chopped down to around 3:30 for radio airplay and some of the song's most intimate words are removed. Sadly, the shorter version was featured on her box set a few years back. (what were they thinking???!!!) Get your hands on the 6 minute version and enjoy a true classic american song by a great american artist!

My personal favorite version of this song. Cilla Black has a very rich and powerful voice that is just right! She sings it with much more feeling than Dionne Warwick's more popular version a year later. Burt Bacharach originally wanted to use this recording on the soundtrack to the film 'Alfie', but Ms. Black declined.

The song is actually a show tune - originally from 'Gypsy'. The only place I know this version exists is off Harry Connick's laser disc - featuring a live performance from '91. Anyway, if you listen to Mel Torme belt out this showtune, it sounds, well, like a showtune. I'm not a big fan. It's kind of dimply cheeked-cheesy. Harry sings it like it's an absolute standard. Slows it down, gets a little soulsy and smooths it out... perfect crooner jazz. Unfortunately there is a good deal of talking and tap dancing breaking up the song.

a catchy organ riff and some duh duh wailing...it's just one of those fun obscure mid sixties soundtrack songs. sounds like a cheesy party sequence, although i've never seen the film it originates from.
good clean fun. Actually i was surprised when i found out morricone originally wrote this, because some cheap dance/pop bill (can't remember who right now)had a hit wich borrowed heavily from this sometime during the mid-to late nineties... why is it that every time something catchy pops in top 40-music, it turns out to be borrowed from one of the old masters?

I really love Slowdive. I guess it's fair to say they're the most under-rated band of all time (yeah, I know you all have your own opinions but you're wrong and I'm right - okay? ).

So imagine my surprise when electronica masters Morr Music decided to compile a Slowdive tribute record last year, featuring luminraies such as Icelandic beauties Mum.

The album is a sheer joy - and highlights the quality of Halstead's original song-writing (before the layers of reverb and delay were added).
The stand-out track is Altogether, taken from Slowdive's second Creation release 'Souvlaki'. An astonishingly pretty but achingly mournful track is turned, by Morr's Styrofoam, into a trippy work of blissed-out happiness. Cool.

This is one of my favourite tracks on El Kilo, Orishas superb third offering. I love the horns!

To me, this track is a perfect distillation of all that is wonderful about bossa nova and the various hybrids which it inspired. Bossa nova was taken up all over the world after its rise in the late 50s and early 60s, but Italian musicians seem to have done an especially good job of absorbing its charms.

A simple instrumental, this opens with a plucked guitar and simply builds up and down, adding piano and strings and then taking them out so beautifully that it makes you shiver. Alas, the rest of the compilation this is taken from suffers from poor sound quality. If anyone comes across the original Giancarlo Gazzani album, I'd be very keen to hear it, although I fear this track may be an isolated gem.

astonishingly beautiful, early 70s brazilian masterpiece. a classical piece disguised as a pop song, with a simple piano playing a wistful melody punctuated by an amazing unexpected ascending chord hook. gismonti sings the original version, with a string section and morricone-like wordless vocal backing him. for the final minute the key changes and the vocals and accompaniment stop, and the solo piano veers off into satie territory, before resolving back into the refrain. gismonti re-recorded this a few times, after finding success in europe as an avant/classical composer. this song also inspired the guitar and mandolin trio agua e vinho, who cover it on their self-titled album along with a few other gismonti compositions.

Acoustic cover of the hit song in the 1970's by original artist, B.J. Thomas.

This is one of my favorite Bacharach-David songs. It would be difficult to top Dionne Warwick's original, but Anita Kerr's jazzy cover comes awfully close. Kerr's arrangement is more muted and pretty - and when the drums kick in between chorus and verse, the results are breathtaking. Real cool!

Original member Syd Barrett wrote this about a cross-dresser named "Arnold Layne" who used to steal bras and panties from clotheslines in Cambridge, England. The song has a Blues sound which the band was known for.

This song is an interesting case study into the question of 'why do I like this version of the song more than any other'. I have a half-baked theory that for me, I mostly just like the first version of any great song I hear, regardless of whether or not it is the original or 'best' version. But this track is so different to the Rolling Stones's version that I think it would probably divide people pretty clearly. Produced by Lee Hazlewood/Billy Strange, 'as tears go by' is here recast as a crisp pop bossa nova. They even change the chords slightly (adding a new chord as she sings 'by'). To me, this makes the song vastly superior to the original (or any other I've heard). But I'm not sure anyone has ever agreed with me yet on that one...

A really nice cinema-pop gem from the team that brought us The Windmills of your Mind. Sung by Sally Stevens, one of Hollywoods great voices. Such a charming little song. It's one of those things you instantly play again after the first time you hear it. It's more or less a song about freedom, with lyrics that still sound fresh today:"...Bullets fly like popcorn on the screen, recommended wholesome nice & clean, making love's the thing that can't be seen... Why?"

Found it on this sort of cash-in LP for LeGrand's UA soundtrack work from 1970. Originally from the soundtrack for "La Piscine", which is harder than hell to find on it's own. The LP is awsome for fans of LeGrand for it has 3 tunes from "The Thomas Crown Affair" , "La Piscine" , "The Young Girls Of Rochefort" & the jazz theme from "Play Dirty".

This is a very beautiful track.

Very 'West Coast' late-60's sound. Quite reminiscent of Jefferson Airplane.

Very sweet, very melodic/melancholic.

Strings. Strong female lead vocal.

I originally heard it many years ago on a vinyl album by a group called 'Mojo' which is what The Mojo Men were apparently calling themselves in 1969.

I searched for the song for years, confused by the change of name & eventually found it on their CD compilation.

It's another one of those songs that should have been very succesful, but was just stuck in the middle of a flop album

Many may already be aware of this samba due to Walter Wanderly's space-age tinged organ instrumental version, but Elis's original vocal version is far more powerful with relentless horn blasts. It also demonstrates her range of emotions put into the performance as she goes from delicate to belting.

Big Town Boy is the title track of this new in 2004 version, a rocking update that pays respect to the original. Website: www.dannym.com

An AMAZING rearrangement of "Eleanor Rigby". Earland kills on organ, and he's backed up by the incredible Melvin Sparks on guitar and Houston Person on tenor sax. An absolute classic of Hammond jazz.

A very tasty and rather 'European-sounding' cover of the 1967's psyche-jazz Tom Scott's original from the well-known session percussionist-vibraphonist Emil Richards. Although it comes in a compilation of Emil's best late 60s latin-jazz recordings (interestingly, not a single horn instrument is used in the whole set!), this is an energetic percussive jazz-rock piece, with great vibraphone and bells(!) solos.

Funny, fast, w/ weird stream of conciousness lyrics. Mary Prankster (a funky mix of punk, rock, and rockabilly) is in-your-face, vulgar, clever, and original. Also great live--check out MaryPrankster.com for tour dates.

"I'm really stoned, and I think mom put acid in my orange juice again"

Seriously, who doesn't like Bruce. This has got to be his most beautiful song. If not please inform me of one that is better. If slower that the original version and it's performed with his wife. Just do me a favor and listen to the song.

Hey - don't knock Sade. This is from the Love Deluxe album, which is a great record by any measure. All the songs are original and heartfelt, not formulaic, and with an awareness of third-world misery that's striking coming from a pop princess like her. But she is from Nigeria and knows what she's singing about. Bulletproof Soul is my favorite on the album, a song very dry and quiet and sparse. The backing vocal works in a very sad, soulful harmony line in the chorus that really makes the song.

Guitar-driven original pop-rock single with intellegent lyrics and catchy hooks.

DJ tomfoolery, a funky, formless response to "Close (To the Edit)" by Art of Noice. If anything, a nifty excuse to play Spot the Sample. Lots of scratching and drum machine beats complete the sweaty, mid-80s NYC feel.

I originally came across this recording on the soundtrack to the film 'the Adventures of Priscilla, Queen of the Desert' and I have been thanking my lucky stars since! Taken from the rare and out of print LP 'Crazy In Love' (which you should purchase on sight if you ever come across it!) Ms. Richards throws a good swing into this exquisite torch song and brings down the house with the help of Billy May and his orchestra! I am forever indebted to the person or persons who compiled the 'Priscilla' soundtrack and led me to this great song and the original LP from which it was taken!

One of the far too few originals on this great underrated LP.The duo has a familiar west coast pop-jazz sound,much like their labelmates Bud Shank & Joe Pass.Except where as those two have way too much generally lackluster output,this duo has tons of talent packed into one exciting session! Ken plays an icy alto & soprano not unlike Paul Desmond and Beverly sings with all the grace and soul of ladies like Lena Horne and Dinah Shore. In this track, one of the most energetic on the LP,the group swings in a brisk 5/4,with Ken blowing a soulful line and alternating into creshendos with Beverly paralelling in a sassy vocalese. Wonderfully breezy,and just the kind of peppy bossa-like lounge tune you'll listen to over & over & over...They also do great versions of"A Man & A Woman"(with Ken adding some tasteful vocals himself)and "Eleanor Rigby"! A tough record to find, and no compiled tracks are anywhere to be found.... sad.

I spun this once on a friend's college radio show, and he said he had never heard a song with the bass mixed so heavily...honestly, the needle was so deep in the red we thought the Eisenhower-era console was going to explode. Once you get past that, you find yourself listening to an absolutely storming early reggae instrumental, with a beautiful slow, loping groove and a horn chart very reminiscent of a Stax session from around the same time. I met Lester Sterling in 1995 and talked to him about this song, he told me that he'd been trying to remember how it went for twenty years! Making me even prouder, the next time that the Skatalites came through town, they played it. The original Byron Lee LP that it appeared on has terrific naked lady cover art, to boot!

For those not yet ready for France Gall/Serge Gainsbourg quite yet. This is Elinor Blake's (aka April March) English language version of "Laisse Tomber Les Filles" written by Gainsbourg and made famous by Gall. I prefer this meatier version to the France Gall original but it did get me to go out and purchase my first France Gall CD. The CD also contains a French language version of the same song.

Hyper-lounge remix of definitive Puffy Ami Yumi song. While the original track put forth more of a Sunday soapbox derby theme, this remix is Formula 1 all the way.


http://puffyamiyumi.com,
http://www.sonymusic.co.jp/Music/Arch/ES/Puffy,
http://www.sonymusic.com.hk/puffy,
www.furinkan.com/tomobiki/wagaku/artists/puffy.htm .

The Cure meets Tamlla Motown ,well sort of, the ideas in Robert Smiths head celebrated the sound of black America yet still kept their fledgling gothic credentials intact.A syncopated bass line and drum pattern is supported by a persistant but low fi organ ,the song goes from sinister and unerving to joyous and euphoric in just a couple of minutes thanks to some well timed horns and hand claps whilst the original rhythym never misses a beat.A time when any band could try any thing and occasionally meet with a happy accident.

I first heard this song sampled on 'The Truth' by Handsome Boy Modelling school, essentially the bones of the instrumental coffee cold, with new lyrics from Roisin Murphy (much better than Fergus MacRoy's on a alternate version of the original).

The song itself is piano based, and has amazing drumming. I am a musical goon and cannot explain it much more than that, but the song has a really nice dusty feel to it. The fact that this was sampled in a modern hiphop record and the drums remained unenhaced says a lot.

This is a great song and well worth tracking down for any fans of funk, jazz or hip hop.

short, bouncy cover of the broadcast song.
it's interesting because it removes all the dissonant electronics that make up the "broadcast sound", leaving a much purer-sounding piece of 70's style pop-psych.
in a weird way, this now feels like the alternative universe original version, and the original song the cover.
i love the giddy woooh-ing in the chorus.

An exquisite and much-sampled version of this nice tune from the Valley of the Dolls soundtrack. The slow, funky beat is simply one of the sweetest you will ever hear, and the harp melody is ethereal and beautiful.

In my opinion, even better than the original.

This is a calmer psychedelic tune. I like it because of the original sound and because of the mood.

This is by no means a new release, but I've recently gotten back in to it. Most people have a misconception about The Misfits. Yes they have recorded some very 'crap' songs, and the newly re-vised band and almost everything Danzig has done lately is complete garbage in my eyes, however the original Misfits early recordings, circa 1975-77 are simply amazing. 'Cough/ Cool' is a Hammond/ Fender Rhodes driven, atmospheric masterpiece. Danzig croons like Jim Morrison in this emotionally charged ballad(?). Granted, the lyrics are kind of dark, "scent of blood when you cough, cool, cool, cool, cough, cool ", and most of the other words are relatively indeciphrable, yet shockingly 'pretty'...at least in their tonal quality. The song is very scaled-down and under produced (organ, electric piano, bass and drums), but this is a good thing, it's part of its charm. The amount of reverb and slap-back echo on Glenn's voice is brilliant. So, I urge anyone who has never listened to The Misfits due to the forementioned reasons to get off their collective 'high horses' and give it a listen, they have some really great songs. Other good tracks from the same era include; "Return of The Fly", "She", "Hybrid Moments", "Come Back", "American Nightmare", etc...

David Snell is an amazing harpist. This track was originally released in 1975 and is from the "On the Side of Angels" album. Since then, it has been found on a variety of compilations; The Mighty Mellow, Cinemaphonic 2: Soul Punch and many others. A great jazz track.

I always knew the original version of this song by Leonard Cohen and over the last few years kept hearing this version. She sounds like Billie Holiday in this and makes it her own song. Don't know much about her but she also sings in French and does a great version of En Vie En Rose, another favorite song of mine.

This song is a classic of the psychedelic era, by a group that later became known as the Peanut Butter Conspiracy. I first discovered it years ago on a 1967 compilation album called "West Coast Love-In" which featured about four of the Ashes' songs. It was "Dark on You Now" that really wigged me out-it is an awesome, slow-paced, moody number that features the spine-tingling vocals of Sandi Robison and the prominent 12-string guitar of John Merrill. The song is incredibly atmospheric and reminds me of a combination of the Byrds and Jefferson Airplane when both of those groups were in their prime. It is also at four minutes plus quite long for the era. I listed this as being recorded in 1967 but it may have been waxed in 1966...at any rate it is surely one of the great songs of the early psychedelic era.

I have the first Peanut Butter Conspiracy album which contains a re-recorded version of this song, harder rocking and not nearly as good. The original Ashes version was recorded as a 45 for the Vault label (which also issued "West Coast Love-In").

Yes!!!! Found it!
I live in England (nearly 20 years, but am originally from Holland. Saw twice a new commercial the last 2 days on tv here (can't remember what it was for), but regonised the song that was played in it (although it wasn't the original version). I knew it was a hit in the sixties. And always liked it. But hadn't heard it for years! My partner ,who's english, knows and does remember a hell of a lot about (popular)music and whenever a song is played HAS to announce WHO, WHAT and IN WHICH YEAR IT WAS A HIT! Get's a bit annoying at times.
He said he knew it from a "chill"-album, but I told him I was certain that it had been a hit in the sixties.
After surfing the web for an hour orso tonight, and not even quite sure if the title was "Daydream" and not knowing at all what the bands name was. At some point I found out that it could be Wallace Collection, but eventually after finding your website, and you were the only one I was able to hear that song, I got it right!
Thank you so much. The song brought back so many memories! I will keep your website in my favorites list. It was a great help.
Thanks again, Trijnie

i heard this song for the first time in spain at the purple weekend. the dj (mike stax) is as rather famous guy in the mod/garage/60's-scene. so i didn't have the guts to mail him about it for a year or so. but eventually i did and he gave me the details and told me that it was his girlfriend ho spun it. the song is a weird version of black sabbath's paranoid. i love this stuff. can be found on some german comps various artists as well as c&b comps. i saw the original cornet single on ebay a couple of months ago for a mere $180.

The kind of overlooked track that makes Frank Jastfelder and Stefan Kassel's soundtrack series so great. I find this a very refreshing take on the familiar James Bond theme. Ivor Raymonde's arrangment really sells the composition in the context of the Lettermen-styled vocal harmonies of the Bachelors without losing any of the energy of the John Barry/Shirley Bassey original. I particularly like the way Raymonde implements the steel guitar here.

Featuring a strange assortment of melodic percussion instruments, brass and punctuated with animal calls which are only equaled by those of Roger Waters on Pink Floyd's Umma Gumma, this is BY FAR the strangest (and coolest) version of this song ever recorded. The Residents must have developed their whole series of Mark of the Mole albums after hearing this recording. "Diga Diga Doo" was originally a show tune for a Broadway review called The Blackbirds of 1928.

This is pure fun, a track with that 'easy cheesy' sound which many people love to hate. But wait, this is brilliant! Although rather clunky and an extremely 'square' take on 'hip', this is quite magnificent, honestly. Backed by a relentless beat, Ronnie plays the tune on 2 pianos, while for the bridge section the superb harmonies in the Beach Boys original are played out beautifully by the London Festival Orchestra. Although it's something of a guilty pleasure, I have to recommend this track very highly. Listening to it now on headphones, I notice that it even has that stereo effect having each piano come out of a different channel, an effect used to great effect on his version of 'soulful strut'.

Quite possibly the most beautiful soul ballad of the late 60s.... despite being a slow song it is incredibly uplifting.... it speaks of holding out for someone you truly love when temptation surrounds you, which fits perfectly with my mindset. "Just remember that lovers have sorrow.... just remember we'll make up tomorrow". Immensely touching, beautiful and timeless.

WOW! We all know how much the brazillians love Burt, well, this is a fine example of how well he was interpreted by the south.



They keep the original arrangement but spice it up a bit with snappy side-stick beat and pumped-up organ stabs ala' Wanderley.The singers are (I believe) Gracinha Leporace & Pery Ribeiro,and they harmonize beautifully as Manfredo Fest rythmically taps his organ paired with piano in a sumptuous unison.They carry the song along in gradually ascending stages of bliss,until they drop away only to build "Do-you -know-the-ways"in an rounded refrain to finsh it off...Absolutely gorgeous! Produced by Sergio Mendes in his imitable style!!!Also check out their version of "Up, Up, And Away", from the same LP.

wonderful lyrics. cover of The Flaming Lips' original song, Do You Realize?

a french reworking of 'gimmie some loving' by the spencer davis group. lush strings and pounding horns make this song a stormer. i personally like this version better than the original. highly recommended.

An outstanding live reading of this song recorded by Talking Heads� �big band� on the tour to support �Remain in Light� in 1980. Augmenting their original quartet with six extra players, the sound of the group is huge and funky, but appropriately paranoid. Check out the use the of Adrian Belew�s freaky guitar textures � here between stints w/Bowie and Robert Fripp�s soon to be reformed King Crimson, and Dolette McDonald�s cinematic background vocals on the song�s break. (It�s all very Morricone-damaged, I think). And David Bryne is @ the absolute height of his powers, here.

I don't think there is any middle ground with old Scott. Love him/hate him

I originally started to listen to him because of recommendations from Julian Cope, not personally, from his book, Head on/Repossessed, a great rock'n'roll read.

To me This is Scott at his best, balancing well his mesmerising voice, with his world weary poetic lyrics, not too over produced, a beatiful ballad.

sample Lyric " You shed your names with the seasons, still they all return with their last remains, and they lay them before you... like reasons...."

Early urban blues from the master of all that is politically incorrect (listen to his lyrics on most tracks regarding women). Recorded as a tribute to a friend, full recording has a 3 minute rant by Blind Willie recounting the story of writing this, andsinging it at a friend's funeral. The finest early urban blues track - playful chord progression and a perfectly sophisticated urban take on his normal country blues output. Sharp lyrics are a joy to listen to.

I have this on the original CD (or at least a CD-R of it) and a French remix 12, which has 3 good mixes including a fantastic one by Manta 1000. Both are very good. The song itself is a mix of the traditional and the modern (with Production by aging Gong-ster Steve Hillage), Arabic and Indian. Violins, Bollywood style singing from Amar blending with Khaleds' gruffer style - all with an irrisistable rhythm underpinning it. Another one chock full of great hooks, where I can't understand a word, perhaps I should take up the study of languages.

Originally sort of a mellow song, here is someone really belting it out. With a swinging big band, Kim, (who I've thought of as a soul singer mainly)
really rocks.

Richly melodic, attractively textured instrumental track at the end of an otherwise rather unassuming album. Nice chords. Nice synthesizer and guitar work. Co-written with the original guitarist of Genesis, Anthony Philips.

To me, Depeche Mode was primarily a great singles band, with the exception of "Some great reward" (1984) and "Violator" (1990), which were consistently great albums. "Enjoy The Silence" shows Depeche Mode at the top of their game: Gore's songwriting talent, Gahan's vocal performance and Wilder's impeccable arrangement. The newly remixed "Enjoy The Silence 04" clearly shows why the original just can't be improved in any way.

An absolute classic of British pop. Beautiful song whose verses and chorus each use original and stunningly effective chord sequences. The verse's melody line is exceptionally fine, as is the atmospheric production.

While I am quite fond of the original version written and recorded by Morrissey, I have to admit that I prefer the cover version that the Pretenders recorded. Chrissie Hynde's voice and style are perfectly suited to the task of singing this movingly sad song about life "in a seaside town that they forgot to close down" and the use of slide-guitar is absolutely perfect on this track.

Originally performed by Leonard Cohen, Famous Blue Raincoat is dark and poignant with beautiful lyrics. Tori Amos performs it wonderfully.

"One more thin gypsy thief..."

In my experience John Gregory is one of the most consistently superb British arrangers of the 60s and 70s. I've never really heard anything I didn't like by him, although I understand that he was very prolific and that I've barely scratched the surface so far.

His arrangements have simultaneously a bite and a beauty that few others were able to match. Although not much of his work is available on CD, there's one excellent disc, 'Mission Impossible and other themes', that compiles most of his 'big band crime jazz' work, dating from the early 1960s to the mid 1970s. The disc isn't very excitingly packaged and can be had very cheaply, but it's full of outstanding tracks.

'Fire and Rain' is from a 70s album (I have it on a Philips sampler from the early 70s), and is a sumptuously arranged instrumental in the vein of some of the work of other British arrangers of the era, such as Johnny Harris and John Schroeder.

Of course, the song was written and originally recorded by James Taylor. His track is quite nice, but maybe it helped that I came to this version 'fresh', without having heard the original. This happens to me a lot, and Gregory's full arrangement and jazzy touches definitely elevate the track for me.

The melody is carried by a beautifully played trumpet, and later by the strings. There's a strong beat throughout, and a particularly groovy break towards the end with some great brass.

Well mostly just Toots on this track. A breezy, two-minute instro carried by Toots' whistling and a very rich, energetic arrangement. Very good stuff. There are a few other instrumentals on this (mostly) excellent disc, and this Thielemans original is easily my favorite.

An incredibly perfect easy listening piece, this opens with an other-worldly, John-Barry-ish synth sound, and then leads into a groovy, lightly funky piano riff, with shimmering strings. Francis Lai's signature organ sound carries the tune as the song builds into a dramatic orchestral pop masterpiece. A standout track, with superb wistful, lazy, summer day feel, rather like some of the best tracks on the 'Sound Gallery' compilation of a few years ago.

Absolutely fantastic, amazing, beautiful singing - it'll really knock your socks off. The tiddas seem to concentrate on singing above everything else - they are three women, two of whom play the acoustic guitar, and that's it, but the result is just sensational harmonies and brilliant interpretations of songs, some of which are aboriginal folk songs, others their own, and others just covers.

This is a cover of a song by the splendidly-named Weddings, Parties, Anything. Both versions are absolutely brilliant but the singing on this tiddas one is just out of this world.

The song is a remake of one of Vai's most famous pieces. The first part of the song is solo oboe (or maybe soprano sax) with harp accompaniment followed by a louder section where the guitar (played by Steve himself) takes over.

This entry and the one before it come from a compilation called pop-shopping - juicy music from german commercials 1960-1975, and I can only imagine seeing these with their original car commmercials. This music is fast, stylish, and vintage.

The epitome of deep Memphis soul. The hurt evident in Carr's voice is absolutely unimaginable. Carr's story is a strange one. He is best known for recording the original version of the Penn-Moman composition "At the Dark End of the Street", a song which comes as close as possible to being considered a soul "standard", and of course, his version is the one by which all others are measured. His vocal range and intensity is comparable only to Otis Redding and Percy Sledge, and in my opinion, completely surpasses both of them. He suffered from a mental illness that on one hand allowed him to channel pain like few others have ever been able to. On the other, it led to serious instability and crippling stage fright which buried his career before it ever really started. He was also functionally illiterate, but you'd never know it based on the raw emotion he put forth in his recordings. On this song, he pleads with a lover to stay with him so that he won't have to try and forget her. Absolutely heartwrenching stuff. "I've done you wrong/now you are gone/but what can I do?/Don't make me live/the rest of my life/forgetting you."

A nice cover song as Towa Tei (SRATM) will do. I haven't heard the original but would like to. This one is in the two-step style which I am also unfamiliar with except through Towa Tei's interpretations. An excellent song. "Girly" as TT songs with vocals can be. Dancy as TT songs usually are. Commentary from some Jamaican/British type (!) and breaks down into a remix of itself toward the end - but in a very respectable fashion! -- I recently found out that this CD features copy protection, funny enough that kind of changed the way I felt about it. I want to make it clear that for that reason I can't recommend that anyone buy this album. ;)

A beautiful original, mixed with a great hip-hop bassbeat. This was Madonna's first album after her admittedly excellent performance in the film, 'Evita'. In preparing for the film, she had actually taken professional voice instruction where she learned to project her voice and put less strain on her vocal chords. The transformation was amazing and she has sounded so much better since. She was also on a spiritual journey as she began her role as a mother and the lyrics bespeak this journey in her use of very emotional words and the warm sound in her voice. This is not, 'like a virgin', this is a woman reborn!

Discreet Music is quite a lengthy CD. The actual piece Discreet Music is over half an hour long and evokes Eno's wonderful Music for Airports.

Also included are three related pieces and this, Fullness of Wind, is the first of three variations on the Canon in D Major by Johann Pachelbel. It's the best of the three - and well worth a bang.

Eno fragments, overlays and slows different parts of the original score to create a beautiful ambient work. Kinda Steve Reich meets Godspeed you Black Emperor (without the guitars).

Another track from pre-Dare Human League. This is the League's version of Ennio Morricone's Funeral March from Sergio Leone's 1969 western, Once Upon A Time In The West. Like the League's interpretation of You've Lost That Loving Feeling, the track a is slow-paced, electronic beauty.

It was originally recorded in the late 1970s and received its first public airing on the recently released The Golden Hour Of The Future.

This album, actually credited to The Future and The Human League, compiles recordings made between 1977 and the moment The Human League signed to Virgin Records in 1979. The Future is The Human League's first name.

a cover of The Fire Engines's song (the Engines then reciprocated with a cover of "Jacqueline"). knocks the socks off the original version, but i'm biased after all -- it's just incredibly sexy and groovy, and there's Alex K and Nick McC -- can't go wrong there.

Working on the premise that if you are going to cover a song then do something with it .then Shawn Lee wears the crown .Missy Elliots ground breaking hip hop giant has been turned into a dark surf twangy guitar driven celebration of Tarntino-esque proportions .the relentless plink plonk riff of the original is replaced by a mammoth guitar line which builds to a Mexiacana brass bound climax.There is a whole album of contemporary covers in this vein all of which need to be heard .

Absolutely heartrending cover of the beach boys classic. May i even go as far as to say it superseeds the original ? I think i will for the time being. Mandy puts the whole song in a groovier context but never forgets the universal melody/appeal of the orginal. Taken from an reissue thats worth checking out too

A wonderful version of “Going out of my head”, which was originally sung by Little Anthony and the Imperials. It's a great song anyway, with really nice words (well, nice for a Smiths fan like me, anyway: 'there's no reason why...my being shy...should keep us apart...'), but Sergio Mendes also adds an extra musical edge to the chorus, and this really adds a new dimension to the song. The instrumentation is classic Brasil 66: Percussive jazz piano, group vocals, and a driving bossa nova beat.

A blend of Mexican, a sprinkling of country and a dose of Southern soul "Goodnight Moon" is a track off the album "I Ought to Give You a Shot in the Head for Making Me Live in This Dump" : classy!

When a song hits me - I will play it like it's going out of fashion, or in this case, coming into fashion!

Until four days ago I knew nothing about this band - I happened to be surfing around looking for inspiration and accidently came upon this song, the singer whom I now know as Ambrosia Paisley has a sultry, quirky voice and given to this song makes it feel like It should be played acoustic in some smoky bar with swing doors, and a bar man called Hank offering neat JD's.

Although that's probably not too far from reality it is being played world wide thanks to Mr Tarrantino who has used this track in his movie soundtrack - Kill Bill 2 - which kind of makes sense to me granted that my original search on Google four days ago started with Nancy Sinatra, which I also found out "Bang Bang my baby shot me down" (another recommendation should I add!) was lent to the Kill Bill 1 soundtrack.

Regressing, I do not know if any other tunes on this album are worthy but Goodnight Moon now firmly has a place in the soundtrack to my life.

Originally done by Phish, but I kinda prefer Jimmy's version. Check out either one. Crazy, steam-of-conciousness (or something like that) lyrics, good beat. Weird song. But good, very good.

"Spittle is everywhere enraged...

I can't believe how great this is! Really part of Hugo's best period, when he was using some of his best players, and best ideas! The track starts out with this plunky Carol Kaye like bass line, alongside funky harpsichord, and the vocal begins in his typical "choral" style. Really faithful to the turtles original, with all the twists and turns of his crazy arrangements. Check out the vocal effect on the chorus, where he runs the tracks through a Leslie speaker! Crazy stuff.

Despite the vocal style of James (not appreciated by myself) this track is a true masterpiece - listful, solemn and mysterious. Numerous good covers inc. Kelly Joe Phelps, & Chris Thomas King (O Brother Where art thou). The original's guitarwork is superior to other versions - sparse and perfectly timed. However Phelps has, in my oppinion, a more appripraite voice for the track.

Not to be confused with that Ugly Kid Joe kindergarten rock song.

No, this is a rock/blues song, almost a ballad, with pretty good lyrics and a fabulous melancholic feel. It's catchy, and yet original in it's melody.

Steve Lukather (Toto, numerous sessions) is considered to be one of the best guitar players - ever, actually. This song, however, isn't just a display of guitar virtuosity (although that one solo in the middle of the song does give me shivers each time and again) - it's a display of how perfect and beautiful a simple song can be, and how it sounds if it's sung and played by someone breathing and living music.

A rock-y love song. Shane in good voice - maybe the last time he has been in such good voice, I dunno. The voices go together brilliantly.

Its a nice contrast with 'Fairytale of New York'. Sample lyric 'you were so cool you could have put out Vietnam'

It was originally recorded with original Pogues bass player Cait O'Riordan (forgive the spelling - I'm crap at Irish names) which I heard at the time but not since - it was on the soundtrack to Sid and Nancy

A cover of the original Nine Inch Nails song, this makes for a surprisingly good cover. The lead singer does a good job of mimicking Reznor's way of singing and the music itself manages to be similar to the orignal but with a fresh twist. Industrial/alternative rock sound to the song.

The sound of Paul Wller finding his musical feet after the Jam split,a breezy acoustic mid tempo ballad that relies on organic components ,guitar ,hammond organ and hand claps to propel this celebration of love and unity through the roof .
Originally appeared on the B-side of an early single and sounding like a demo,it was later re recorded for the debut album "Cafe Bleu" but was really nailed on this version

Wonderful work from the Swedish band The Knife. This song was also recorded by the singer/songwriter Jos� Gonzales but this is the original and it's great. If you like bands like Ween you'll probably love this.

Super Furry Animals are one of a select group modern bands I really like. In a sense, they are too 'rock' for me, but they are so furiously inventive and original that I'm always impressed by their songs - even the ones which I wouldn't necessarily listen to by choice. 'Hometown Unicorn' is a masterful pop anthem with a rich Bowie-like 1970s feel to it. The lyrics are also masterful, and concern the late 70s story of Frankie Fontaine, who claimed to have been abducted by an alien spacecraft. From the first line of the song, I was hooked - 'I was lost, lost on the bypass road...' Many thanks must go to my friend and fellow site user, phil for introducing me to this track and this band.
ps, the group are incredibly good live as well.

Y'know...I really like the latest Dandy Warhols album, in spite of myself. I've never been able to stand them, as they are as about as close a thing to actual rock stars as we have here in Portland. As a result, there's just an awful lot of bitterness in the air. I think that I finally came to the realization that their particular brand of coke-sniffing antics are precisely what I want out of a rock & roll group. I want there to be rock stars on the grand 70s scale again. Somebody has got to inherit Mick Jagger's rightful place as the man to be. I'm not saying that Courtney Taylor should be that man, but at least he's on the right track. This song in particular...as strange as it sounds...it reminds me of the Offspring, but in a good way. And that's the way with a lot of this album. There are songs here that remind me a lot of Beck, ones that remind me a lot of Frank Black and of course the obvious Stones pastiches. In short, there's nothing earth-shatteringly original...but hasn't rock & roll always been about copying what's come before and trying to make it your own? I mean, where would the Beatles have been without Chuck Berry?

There are many echoes of Morricone here of course, but they're incorporated into a sophisticated, subtle and original musical aesthetic rather than just being lifted.

I'm as unclear as ever about what Alison Goldfrapp is singing about in this song or indeed many others, but musically it's so very good that I am not too bothered.

Point of curiosity/interest: Andy Davis and Stuart Gordon of The Korgis play on some tracks on this first Goldfrapp album; Davis also plays on the follow-up "Black Cherry".

Got a haircut today (short, choppy, fab). Getting a haircut often makes me think of June because she did have the greatest barnet ever - that fringe!

So I've pulled out my June collection - a paltry 4 LPs but growing - and am lovin' a bit of this tonight. The instrumentation here reminds me a lot of Ella Mae Morse's corner of the market, someone I should really get around to recommending on this site.

How High The Moon opens gentle as duck down, moving into a light finger snappin' mood then onto a heavy big band scat rhythm. Christy's technique is superlative and you can almost hear her intuitively measuring the band, taking each note perfectly.

This LP is a set of re-interpretations of songs June originally sang with the Stan Kenton Orchestra. Being a June novice, I'm not aware of the original version but I doubt I could like it more.

a norwegian language version of the song "if i thought you'd ever change your mind". the instrumental part is pretty similar to the original, only a bit more stripped.
it's the vocals that really shine here. the singer, rannveig kvello, isn't all that good a singer, but her voice has an interesting quality wich adds an incredible sense of quiet desperation to the lyrics (they are pretty different from the english language version. still pretty cheesy, but with far darker overtones than the original. they remind me of glenn close's bunny boiling character in fatal attraction)
not really a fantastic recording by any means, but there's something in it that seems to tickle nerve in me.
the chances of finding this are probably pretty slim, as far as i know it's only on vinyl and was probably only available in scandinavia.(i found it while pillaging a danish flea market. )

The original Temptations version of this song is one of my all-time favorites, but Al Green's version, which initially appeared on his 1971 LP "Gets Next to You", blows it out of the water. As far as I know, this live version is only available on his 1997 box set, but it's worth the price of admission alone. Absolutely dripping with sexual tension & near-religious fervor, you won't soon forget it.

This Australian popsong was recorded at the same time by two performers: solo singer Craig Scott and Toomorrow (which included Olivia Newton-John). I like both versions, but the Scott version has that extra bit that makes it better than the group sound. Delightful slice of orchestrated feel-good pop. It must be said that the Australians as well as the French, were the uncrowned kings of cover versions of songs, but from time to time they produced originals ... not too many, but some like this one. Great uplifting, positive song...

This is a cover of a song by Sting. I haven't heard Sting's version but I am not a fan of what I have heard. Anyway, Cash's version is stripped down to the bare essentials, acoustic guitar and piano with a little bit of keyboard in the background to add some depth, but the music is secondary to the great mans voice. He's in his seventies, and all the age an experience in his voice just makes the youth and experience of the lyrics all the more poignant. His voice reminds me of my grandfather (May he rest in peace). The whole Album (American Recordings IV - The Man Comes Around) is incredible and this song is a stand out track among many, both original and covered.

Nina Simone originally recorded this song in 1959, but it is during the live recording of it during a 1964 performance that she brings forth all of the emotion and true desperation of this song. You can sense her pain and resignation to the fact that she is soon to be separated from her true love.

Queen of the New wave and possibly Vampires, Eastern Bloc princess of the moogs and synths takes a old 80's teeny bopper cover and refreshes it by singing the lyrics in Japanese and adding a synethically mellow-dramatic and somewhat retro kitsch shibyua district cuteness. Dance to it or cry to it, nonetheless this cover is 1000X better than the original..

Blossom manages to play the piano while filing her fingernails into sharp claws on this track. She assures her departing Romeo that he is going to get his come-uppance in the love department and justice will provide her with a "front row seat" to enjoy watching him squirm!
This wonderful album was originally recorded for the Hires Root Beer Company (!) while she was singing on their commercials, and was available for 50 cents and two bottle caps. Now, a copy can cost you around $150-$200. Luckily, the fine people at Disk Union in Japan have gotten a hold of a mint copy of the original LP and released it to Cd.

This one has really been haunting me. I recently heard this rare and sought after album, and was entranced by the opening track, a devastating vocal. Although Lani Groves sings in English, in a style very similar to Sergio Mendes and Brasil 66, I knew that this was a Brazilian track that I had heard before.

Researching a song with as generic a title as 'I want your kiss' is hard though, and with no knowledge of who the composer was, most of the search engine results were soft porn stories. After a while I threw on Elis Regina's first album, Samba - eu canto assim, and happily found the information I was looking for. The original Portuguese song is called 'Sou sem paz', and was written by Adylson Godoy, who may or may not be the same person as Amilton Godoy, who was the pianist in the Zimbo Trio.

After all my research, I was disappointed to learn that this song has hardly ever been recorded; the only versions I know of are this and those by the Zimbo Trio and Elis Regina.

Trivia aside, this is a nice fusion of several of my musical passions. The chord sequence is unusual, delicate and surprising, and the vocal is passionate. I think it would be fair to say that Lani Groves doesn't have quite Elis's passionate delivery, but for me this is offset by the beautiful backing arrangement, featuring some great organ playing.

You may remember Annie from her/their housey dancefloor number of a year or two back "The Greatest Hit".

Well, they've come back with this, a sublime downbeat track with a lush-yet-delicate female vocal. Instrumentally, it reminds me of a slower, swinging P-funk number, quite minimal beats but funky as all hell (in a chill kinda way).

Absolutely beautiful -hard to find but worth looking.

Originally a limited-release 7" on Norwegian label Telle, and quickly licensed by UK house label Loaded -it appears on a sampler they released late 2002.

This is a beautiful cover of the song by the Ronettes, sung ever so sweetly by Beth Orton. She is accompanied by an acoustic guitar. It's very simple and beautiful. The song mourns a lost love, a feeling with which I think we can all identify. "I wish I never saw the sunshine...because then maybe...I wouldn't mind the rain"

I Won't Lie Down isn't just a punk song. It is more of a melodic punk song, then just punk. Face to Face originated in Southern Claifornia but has spread there wonder sound throughout the U.S. I Won't Lie Down isn't jus a song you can rock out to but a song you can groove to. I Won't Lie Down was also remixed (techno version) and put on the Mortal Combat souindtrack. Although the remix is good, it isn't as good as the original, but what is?

The 1966-original of this great raw soul tune from a much underrated blues/rnb singer, instrumentalist and songwriter. That's a smoking song, an underground rare-groove hit with many known djs in the scene; also covered in a great psyche-funk way by an unknown Silky Spearman (appearing in a Counterpoint compilation).

This track is for the heart-broken and the lonely. It's mournful and the lyrics are sad - yet it's still a pleasure to listen to. Originally released in 1968, I was introduced to it through a Gilles Peterson compilation on Luv N Haight titled "Gilles Peterson Digs America 2".

the dubs of this song are great. Digitalism put a new spin on the song that is originally an r&b song. They give it a great dancefloor work over. Hard edged genius.

Let it be known that I HATE covers... I like originals, but there is the odd exception and this is one of them. Amen Corner had a hit version with the song, but when you hear the 1969 Dave Clark Five version you will immediately forget the Amen Corner one. DC5 started out as a beat group and I don't like 1963-1966 beat. But like many groups they tried to survive in the music business and adapted to the new "sound" of the decade. They gave this song the late 60s treatment the way it should have sounded in the first place. Dramatic, musicall over-produced and full of power. If you like a strong orchestrated poptune, this is one of them. DC5 deserved the hit... not the Amen Corner.

Dusty's intimate reading of this song is pin point perfect (no surprise!). Starting out in low quiet tones, the song crescendos as she promises anything to make her love stay with her for just a few minutes more. Heartbreakingly beautiful!!

This is 'Kiss in A Dreamhouse'-era Banshees - the B-side of 'Melt'. Its suitably gothic, but a fairly straight reading of the original carol, which is quite gothic sounding in the first place I guess. Sung in French with, I think, Siouxsie's voice multi-tracked. And its got bells on it.

Other Christmas songs:
Fairy Tale of New York - Christy Moore
Cajun Christmas
Il est Ne le Devine Enfant - Siouxsie and the Banshees
All I really want for Christmas - Ini Kamoze (maybe?)
Christmas Lullaby - Shane MacGowan
White Christmas - The Drifters

My track of choice in the excellent Silver Morning 1975 LP of this distinguished singer/songwriter. To the best of my knowledge, this is not a cover version, but a shining original. It comes in swinging 3/4 time, it's the most jazzy of the LP's tracks, it has a kinda dramatic soundtrack feel, it's simply great!

This song of this crazy girl's is really cool. She's like playing during the whole song. Very soft song but at the same time full of energy. Very eclectic, very original, very surreal, very Björk!!

I believe this song was written in the late 60's by Bob Dylan, however it was performed by Nico, whose original band was The Velvet Underground before she went solo. This track has a lovely up-beat combination of piano and violin to acompany Nico's deep, melodic voice. I love it because of it's artistic without being depressing or too complex.

This is one of the funniest songs I have ever heard. I play it when I have people over listening to music and they get the glazed-over "too much information" look, and I need something to confound expectations. Always with the warning that they need to listen to the whole lyric before breaking down in laughter or confusion. I don't know how closely this english version follows the original Jacques Brel french, but each lyric is more ridiculous than the last! But I thought the Albert/morphine episode of Little House on the Prairie episode was one of the funniest things ever, so maybe I am just warped. This is my favorite Scott Walker album, with the other great Brel tunes "next" and "the girls and the dogs", great originals like "plastic palace people", and the haunting slow version of the Bacharach/David "windows of the world".

great version of the classic gainsbourg song. this is one of the bonus tracks on the rerelease of "oh ah", and it features some absolutely fantastic backing guitars courtesy of alex chilton. a pretty lo fi recording, but the feel on this is quite a few notches up from the album version. it basicly gives me the chills and stops me from doing anything productive each time i hear it. probably the most played track in my itunes folders right now.

(original recording by serge gainsbourg. think there�s an english language version by mick harvey.)

From the "Dusk at Cubist Castle" album, there're two indie-pop highlights that shine above all; "Jumping Fences" and "Courtyard". Whereas Courtyard is more of a complete song than "Jumping Fences", it also is the most blissfully guilty of being overly "Beatle-esque". Jumping Fences, however, is even lower-fi, more harmonius, and equally as blissful without sounding completely unoriginal.

A really nice gently tropical instrumental with strings and a rock (drums/guitars) backing. I seem to be in a minority in adoring Les's 'Que Mango' album (which apparently was originally sold only in supermarkets at $1.99). I actually listen to this album as much as I listen to his classic exotic jazz LPs from the late 50s. It contains lots of great, shimmering, groovy tracks, such as 'boca chica', and the superb 'tropicando', which you can now hear almost everywhere (via a TV ad, and the aptly named 'Thievery Corporation'). Record geek part: on the vinyl version of this I have, the track 'Jungle Montuno' is shorter and sweeter - it begins one minute into the CD version of the track. I'm just mentioning this because the first minute seems to me to be inferior, and from a different song.

This song was to be a key moment in the reformation of Echo & the Bunnymen. Ian McCulloch originally wrote "Just a Touch Away" back in the mid-Nineties, in the midst of the Electrafixion era, but felt it inappropriate for that band. Over time, the singer found himself shelving more and more songs, as it became ever more evident that Electrafixion's days were numbered. Eventually McCulloch played a demo of the song for Will Sergeant, who was decidedly impressed; soon after, the pair turned out the lights on Elektrafixion, re-united with Les Pattison, reformed Echo & the Bunnymen, and began work on their new album, 1997's Evergreen. "Just a Touch Away" would take pride of place within, its evocative atmospheres and haunting lyrics creating an eloquent showcase of the band's new styles and sounds. Today, the song is Sergeant's favorite track from the set, proving McCulloch was right to have so much faith in it all along.

Here's another recommendation from the great third "Canto Morricone" compilation. After Milva, Mireille Mathieu was the second artist to record a whole album of Morricone songs and this song was no rearrangement of a film song but exclusivley penned by Morricone for Mathieu and also conducted by Il Maestro himself. Mathieu is in excellent form here and the arrangement is as good as you'd expect from Morricone. Bear Family Records did a fantastic job here, including 7 songs by Mathieu, 4 of them have previously only been available on singles, two of these songs, "Nata libera" and "Quando verranno i giorni" were even transfered from vinyl since the original mastertapes couldn't be retrieved. Kudos to Bear Family Records for this great effort.

The Spencer Davis Group Version is good. But this is even better, it kicks in with great brass stabs and then this fantastic Bass Line kicks in, similar to the original but with a deeper, funkier feel. Nice drums and Toms great voice. For once it keeps the groove going all the way through, one of my friends used to close a disco night with this, and it rocked every time.

Very honestly sounding East Indian music. Oriental vocal pieces with original instruments, with just the right amount of electronics mixed-in. The whole CD "Shri Durga" is as good.

an elliott smith cover.. but i think i like this arangement better.. it was on to:elliott from:portland.. an elliott smith tribute album.. i'd have to say.. it's wonderful.. but the original has a lot more feeling.. musically this one is easier for me to appreciate..

A highly enjoyable song on many levels. Firstly, the words are ridiculous. 'Don't you know I understand you're a man, and you've got to have your kinky love' is pretty funny, but that's nothing compared to 'baby take me inside, and let the honey slide'. Musically, it's really rather charming as well, opening with just Nancy's voice and a cool watery guitar sound, building beautifully with some great strings. Even though I find myself laughing at the lyrics, she sounds very vulnerable and serious; her voice seems to break at certain points. All in all, this is really every bit as enjoyable as her superb 60s material.

Is it just me or are the original compositions on Command LPs almost always the best and most adventurous? Here is one my all-time favorite Command recordings. A far-out, moogy masterpiece by Hyman. It's about 8 minutes long, not nearly as pop as the rest of the record, and totally brilliant. According to the liner notes, Kolumbo was improvised on the Moog and the Maestro Rhythmaster, "a mechanical drum device," fed through a Echoplex-tape reverberation unit. Improvised Moog? Is that possible? This is very strange stuff. From the liner notes: "[...] there is an effect of a battery of African drummers following an improvised soloist. The listener can provide his own scenario of what seems to be a musical battle, as a second soloist abruptly materializes, challenging the first man. At the end, the original soloist states a brief epilogue, packs up his horn, and splits."

"Sun, the moon, the sky ... and you and I," - I wish I knew where the samples used in this track are from - from the opening piano melody to the refrain (it's possible that the vocals were recorded specifically for this tune). If someone can help out, thank you. I am pleased to hear Jazzanova offer such decent track. After being disappointed by the less than stellar remixes 1997-2000, I was thrilled to hear a very good original creation off of their forthcoming debut full length. Soulful, mellow and ez.

This is an absolutely impossible rarity, as it has never been released out of the original master-tape (until 1 year ago)! Part of the soundtrack of a 1973 Greek psychedelic underground film with the international title 'She Knew No Other Way' (local title: Children of the Flowers). However, this is not a mad freak-beat groovy tune (which is the case for most of the rest of the tunes in the soundtrack score); instead, it's a warm, classy, mid-tempo, funky jam with wah-wah guitar & sax solos and a very discreet piano backing. As a Greek, I was astounded by the discovery of this 70s funky gem from a totally unknown composer (Mike Rozakis). A true obscurity masterpiece, seek the proper vinyl release from Greek label 'Potfleur'.

Okay so it's a cover song. Fleetwood Mac re-released it a few years ago when the original members get back together. Then there was the recent popularity of the Dixie Chicks version. Now, I will admit that it is tough to beat the original version.

But this one's *real* close.

This song came out of left field. From a group whose first work was primarily long, drawn-out, sometimes cacophonous chords, this song was like a splash of cold water in the face. The CD itself is a B-sides compilation that fits like a "lost chapter" to the Pumpkins early work.

Keep in mind; this is not a happy song. It was not supposed to be. That's why Billy Corgan's version stands well above the Dixie Chicks� version, His voice accompanied by a solo acoustic guitar is able is capture the abject heartache of the song�s words and rhythm.

Which makes it a great cover song.

Please listen to the original and stay away from Dixie Chick version.

I used to be such a boy,but I have seen the terror of my ways.The Strokes have cornered a few hooks and terrorized them into submission,using them to tantalize testosterone top-heavy lads,making them dance like innocents caught in American/Iraqi crossfire;but I'm past that age where testosterone tampers with my thought processes.

Vitamin C,real name Colleen Fitzpatrick,ex-singer of Eve's Plum,has made Last Night,by blending it with Blondie's Heart of Glass,into the pop song it always wanted to be.Gone is the nasal whine of the original replaced by cool clear vocals that caress rather than puncture the ears.

On the 12" you get three versions.If you want a good dance work out you'll pick the A side.I favour track two,not so hurried I think it's slightly more reflective tenor illuminates where other versions obfuscate.

pure bubblegum psychedelic soft pop, with lyrics about sucking on "lollipops". the most familiar version of this song is probably the one written for france gall, but i prefer the version where serge himself (in a great faux-na�ve manner)provides the vocals. the sugary strings of the original(?) are replaced by a great subdued wah wah guitar and organ backing on this version, and a lot of little touches wich help make the song a bit more bizarre and playful than the other version. nice for sunny picnics and bicycle rides in the countryside, eh?

Xavier Rudd is Australian, or well, Canadian but raised in Australia, or something, when first hearing him and all his Aboriginee instruments, we all thought he had to be aboriginal himself, even his accent was convincing, we were sorely mistaken. even still, all his songs have a good solid beat and he is essentially a one man band, amazing stuff. this song is nice and bouncy and great stuff, especially as an introductory song to all his other creations.

One of the best songs from the cd 'Sunny Side of Original Love' and one of my favorite songs by Original Love. The instrumentation is typical of this cd: Organ, a driving bass line, drums, a funky guitar riff, brass and a very interesting flute. (Why don't western bands use flutes more? Japanese bands surely seem to realize how they can enhance the mood of a song.)

I love the chords and harmonies in this song. Together with the instrumentation and the suggestive title they make this song very strongly emotional. I can almost feel myself leaving the dull everyday life, escaping to the dark side of the moon as I listen to this song. Oh, and Takao Tajima's vocals are as good as ever.

If you like this song, you may also like 'Sunshine Romance' from the same CD, although this one is the better of the two in my opinion.

First of all let me say that I have been violently blindsided by this group! ...they very quickly entered my favorite 60's pop group stratosphere and have not budged from my rotation for months now. I first got "From you unto us", the singles collection which is good for what it is, but I think the best introduction to the band is the albums themselves, original ordering of songs in this case is vital to the listening experience.
I liked the singles collection OK, but my first impression was muted and okish until I noticed a couple songs later on sticking in my head for hours... picked up the first album on CD (Wondering the whole time if I should be doing this as I have most of the tracks on the comp, CD right? I like the original ordering BEST! Glad I did, no regrets at all...) and have played little else for some time...

I just got Timeless and I'm choosing one off their second album because the first album is one of the few immaculate pop albums of all time IMO and choices there are easy favorites... the second album seems to be less popular, but there are some serious gems here too and It's also a stone cold favorite...

I am choosing Look Away because I think the most distinctive sonic quality of Eternity's Children are these wonderful uplifting bouncy organ driven songs... ET have several tracks that deliver a great song, beautiful and original atmospheric production, great performances in a deeply satisfying way that is rare... This song is pure pop bliss from the opening notes to the end. I honestly can't think of a better compliment than that this song makes me glad to be alive.

For those of you who played in the band and stumble across this:
From the bottom of my heart THANK YOU!

This is not so much my favorite B-66' tune as my favorite Gracinha Leporace tune. She sang for Bossa Rio as well as Edu Lobo some rarer solo outings. It's a cover of a great Caetano Veloso tune from an earlier LP. Unfamiliar as I am with the original I can't compare the two, but as far as how out it is for Sergio is without saying. The whole thing sounds really compressed and blissed out, way more soulful than a lot of his earlier stuff, it just drives forward and backward undulating...

Just a beautiful vocal performance, totally solo with chorus overdubs just to fill it out... Gorgeous!

Originally done by Chaka Khan, this song is one of the breakthrough tracks from new artist Louise Setara and her new CD, "Still Waters," Available in stores on September 12, 2006.

Nouvelle Vague is the project of Marc Collin and Olivier Libaux, who basically took classic late 70s/early 80s new wave songs and transformed them into light, easy going, predominantly bossa tinged tracks, including heavily accented, whispery Longet-esque vocals. They claim these young vocalists never even heard the original songs. It works brilliantly for sure on "Love will tear us apart" where they manage to interpret the song as a melancholic, chilled stroll down a beach with sparse percussion, acoustic bass and guitar, vibraphone and some samples of waves rushing on the seaside. I'd like to think even Ian Curtis might smile down on this cover version...

english language version of "l' amour a 3", available as a bonus track on the american release of "musique automatique".

cute electronic pop song about threesomes, courtesy of french-german electro-rockabilly-breakbeat-chanson-disco-pop sensation stereo total.
features some great moaning samples.
the ooohohouou- sound in the chorus remind me of a norwegian children's programme i used to watch when i was a kid. i just love the vocals in this version. they might not be technically perfect, but the french-german accent is really cute, and adds a lot to the feel of the song.

"it's absolutely out, i know it's hippie shit/
but i say it loud, with the three of us, i love it"

(by the way, stereo total are very nice people. they deserve your love)

A gossamer light track with cello, glockenspiel and some other non-standard rock (?) instrumentation, by a classically-trained musician. The only song that it is heavier than is the Caravelles' 1963 hit "You Don't Have To Be A Baby To Cry", which is probably the song it sounds most like as well, if I had to pick one. Quite gorgeous! But there was a re-recorded version that found its way onto the 1986 "Hope In A Darkened Heart" LP; it's NOT nearly as good as the original.

It's hard to recommend a single track from this album, the whole thing is a classic of California pop. I'm glad it's finally been reissued on CD.

Mark Eric Malmborg created a genuine masterpiece with this recording, which has a bittersweet mood throughout that reminds me of "Pet Sounds". I originally came across this LP in 1989 when I found a copy at a thrift store (it had once been in the collection of the local public library!)and just looking at the cover I figured it would be great, and it was!

"Lynn's Baby" is the last track on the original LP and is a beautiful song about a girl who has been seduced and left with an out of wedlock baby by an older, manipulative guy who's left her after the usual empty promises...rather an unusual theme for a pop song! The combination of Mark Eric's voice (somewhat reminiscent of Brian Wilson) and the gorgeous string arrangement are enough to really bring out the goose bumps.

This CD is one that I absolutely can't recommend enough to fans of the beautiful 1960's pop music.

This is a great cover of the Tears for Fears song. I don't think the original holds a candle to this version. Simple and soulful, you can find it on the Donnie Darko soundtrack or take a listen at garyjules.com on the Trading Snakeoil for Wolftickets CD.

"Mad World" was written and originally performed by the popular 80's band Tears for Fears. A more mellow, piano-based cover of the song was featured in the cult movie "Donnie Darko" (Jake Gylenhaal, Patrick Swayze) as performed by folk artist Gary Jules. His version of "Mad World" reached the coveted Christmas #1 spot in the UK in 2003, despite that it was 3 years old and performed by an unknown artist.
This song is quite possibly my favorite song of all time, at least in my Top Ten, because I feel that it describes life very accurately. The chorus of the song is:
"I find it kind of funny
I find it kind of sad
The dreams in which I'm dying
Are the best I've ever had."
To me, this song is saying "Hang in there...I know life sucks on this earth, but you will go to a far better place after your death."
Depressing? No. This song helps me to carry on.

Okay, I know what you're thinking. Rod Stewart?? But hold your horses, buckeroos! This is one incredible funky take on Rod's old show-stopper. Simtec & Wylie were a duo from Chicago who were modeled after such testifyin' '60s soul acts as Sam & Dave, Williams & Watson, Bob & Earl, Mel & Tim and the like. In the early 70s, they signed up with Gene Chandler's (of "Duke of Earl" fame) vanity label, Mister Chand. There, somebody convinced them that recording a cover of "Maggie May" would be a great idea. It was. First of all, they got rid of that exasperatingly unfunky mandolin intro from the original and replaced it with an electric guitar with heavy feedback. They also sped the tempo up considerably, transforming the whole thing from something rather cloying into a defiant statement...these boys aren't content to remember their time with Maggie, they're back to show her what they've learned in the meantime.

I discovered this on The Dusty Springfield Anthology 3CD set (1997) and fell in love with it instantly. Until this release Magic Garden had never been available in the U.S. and was originally released on an obscure British-only EP. The song's an absolute classic that veers between Phil Spector-esque surging pop and dreamy summer of love escapism. Truly a rediscovered lost masterpiece.

Such a very sad song, with simply wonderful melody and harmony. This arrangement, originally issued on an album of the same name, makes the very most of its poignancy and drama. Bacharach himself sings beautifully,while carrying all the intelligence and emotion of his song. I don't think I've conveyed what it is that's so superb about this record, so will return to this review at a later date.

[01] Radio Edit
[02] Original Vocal Edit
[03] Antoine Clamaran Radio Edit
[04] Antoine Clamaran Remix
[05] Olav Basoski Remix
[06] Roman Salzger Remix
[07] Manuel Tur Remix
[08] Sebastien Leger Remix

A lovely, dark, haunting song with an intricate string arrangement; this really got me hooked on Gainsbourg as soon as I heard it. Musically, the song dazzles me - the arrangement flows beautifully and sounds very original (to me, anyway; if I'm wrong, please help steer me in the direction of more recordings like this!). Serge is a great vocalist here as well. At times he whispers, but some lines he really spits out - 'a quel point je HAIS......ce que tu es...' The guy was a genius.

A dramatic arrangement of a often-covered song by a couple of guys whose names I see elsewhere on this site in several places. Lenny Waronker was the producer.

The band, from San Fran, was best known for its hit cover of Stephen Stills "Sit Down I Think I Love You", which is described as "a whirring music box" in the CD liner notes and indeed it blew away the dull original. "Me About You" meanwhile was covered by the Lovin' Spoonful among others.

While "Metti una sera a cena" has always been amongst my favourite Ennio Morricone themes this interpretation by Milva lifts the quality of the song to an even higher sphere. In fact, its hard to describe the intensity of this version : Milvas voice is perfectly suited for this piece, the arrangement is even crisper and more dynamic than the original Morricone recording, the full blown crescendo of strings and voice at the end is simply overwhelming. My only complaint is the song seems to fade out a bit too early.

I love this Spanish version of the Stevie Wonder classic because it the new instrumentation. It is still very Stevie Wonder with a new, latin flair. The vocals are absolutely amazing, this guy can really sing.

ooh, this is the kind of song that makes me want to simultaneously cry and break stuff... in a good way, if at all possible. starting off pretty and introspective, this song slowly evolves into a stirring anthem for every kid that ever found solace in music.

"you're spinning / your new 45s / all the misfits / and the losers / yeah you know you're rock'n'rollers / spinning to / your rock'n'roll"

this version is off the original cast recording, however the film version is equally excellent, and i would highly recommend the film to everyone. i gotta say, though, i was privileged to have seen the original off-broadway staging and... well, it was a pivotal night for me. hearing this song brings it all back, including [sappy moment ahead, brace yourself] the incredible rush of emotions that came over me when the play ended.

Originally a Tom Petty sound-alike, but on the Spacey and Shakin' album sounding a whole lot like he's finally found himself a niche, Droge delivers a collection of guitar-heavy songs that tip the wink to grunge, but without the buzz of overblown amps. This is one of the heaviest and best... check out the break.

Cosmopolitan Disco with a warm orchestration igniting the perfect melody, Cory Daye's vocal performance can't go wrong. Dr. Buzzard's music is unlike any other music with the battered "Disco" tag. As with most of their discography, this is highly recommended! Also try "The Gigolo and I" and "Transistor Madness-Future DJ" from their wrongly criticized "Dr. Buzzard's Original Savannah Band Meets King Pennett" album.

I am not familiar with the original by Francoise Hardy, but consider this version to be very hauntingly expressive. The artist's interesting and highly effective fusion of the middle eastern and western is as prominent as in her other recordings.

"Mrs. Bluebird" by Eternity's Children is one of the great songs I carried away from the now-defunct LuxuriaMusic. This version is from a "children's record" produced by Richard Preston & Louis Philippe. The arrangement is pretty faithful to the original, maybe a little longer with subtle but important differences. Philippe's singular vocal style compliments the song suprisingly well. Very cool.

This song is a wonderful cover of the song by Lee Hazlewood. Lots of lurid orchestration, lots of reverb and the soft, lilting voice of the Tinderstick's lead man, Stuart Staples. Very mellow. Nice with a glass of wine, in my opinion :o)

Good to see a cover of one of my favourite Free Design songs appear in 2003, especially when it's executed this good. It's very true to the original, so true it sounds almost as if the voice of Sandy Dedrick got sampled from the original version.

Sun Kil Moon issued an album called, Tiny Cities, in 2005. It's composed entirely of Modest Mouse covers rearranged for acoustic guitar. I almost didn't recognize this song when I first heard it, until I paid attention to the lyrics and then BOOM! I have to admit to loving this album more than the original MM recordings.

The Crystalairs are a german vocal quartett that started out in the 80`s. (Their earlier name was "Del Romans", they released many records on the "Crystal Ball" - label, what was the influence for their new band name.) In their youth the 4 guys had all collected many 45's from the USA ranging from doo wop to girl group classics, but all their songs are self-arranged self-written originals or unreleased songs from others.
"Night of wonders" is one beautiful example for their harmonic style and their loving vocals.

When you consider just how wonderful it is, Les Baxter's 'exotic' work is under-represented on this site. From a superb and reasonably easy-to-find album, this cut is an intoxicating mix of shimmering 50s style strings and gentle bongo rhythms.

'Nightingale' is a Xavier Cugat original that is very much in the style of classic Lecuona songs like 'Taboo'. Melodically, it also reminds me of another standard, 'Invitation'.

Here's a really cool one. This is Lesley Gore doing a cover of the Mindbenders' stomping mod classic "Off and Running", which originally appeared on the "To Sir, With Love" soundtrack. This version completely outpaces the original, in my opinion.

Originally to be released at the Norberg Festival '05 in Sweden

A very ethereal song that is perfect for the lilting girlish voice of Blossom Dearie. She is also an accomplished pianist and plays on every song she sings. She is backed by a standard jazz trio on this track and they play in a wonderfully subdued manor that allows her voice and the words to be the focal point of this song. Originally written by a french songwriter, Blossom Dearie heard the song while living and performing in France in the mid-1950's. Upon her return to the United States, she asked her friend, songwriter Johnny Mercer, to write english lyrics to the wonderful melody. The words he wrote tell a beautiful story of love lost, but fondly remembered thru a familiar smell or sound. A standout track from the marvelous LP of the same name. Give it a listen the next time you go to your local music store.

Slow beaty groove, deep, dramatic, emotive. This obscure French library tune was recorded in early 70s for an avant-guard French version of Shakespeare's 'Macbeth', and originally released on a very limited "Musique pour l'Image" 7-inch.

It's taking me a while to get a handle on Love. Some songs I really like, but some I just can't get engaged in. This song, composed not by Arthur Lee but by bandmate Bryan Maclean, is perhaps my favorite Love song so far. [Turns out my other favorite Love original, "Alone Again Or," is also a Maclean composition. Go figure.] This track's tone is different from what I've heard in the band's other stuff. Softer and poppier, more along the lines of my favorite tracks by Eternity's Children, Free Design, or somebody like that. I love the way the flute just sort of floats over the whole song.

This is a cover song of a famous tune by Ruby & the Romantics but it's a totally different type of music from the original. Its orchestration and chorus are outstanding and dreamy. Though Roger Nichols is famous now among Japanese pops fan, I don't think many people know him outside Japan. So I want more people to know his tremendous works!!

Up fer listening to some snotty American teens brag about how utterly monged they all are?!... Lord, just writing that there sentence makes me want to clutch my head and groan� �well exactly, so how does no strike you?� Fair, it strikes me as fair. But hear me out. You see, these drug-addled Wailers set their braggings against a backdrop of the crankiest, mankiest rock�n�roll the wrong side of the Sonics. �Is that the tape disintegrating?�, �Do I hear the wallpaper of heaven being torn down?� No, you don�t, that�s the music. �And is that the �Satisfaction� riff honk-honking like an ocean liner in a storm?� Aye yes captain, like the truest garage rockers they filch their riffs from the big leaguers (listen to that other meisterwerk �Psychotic Reaction�). It�s a genre that favours execution over original ideas, and man the Wailers execute that �Satisfaction� riff alright. Yes, sir, by the end there�s black smoke billowing out like burning plastic. ��And I can hear a�a wicked organ swirling around in the cacophony. It sounds really big, like it was recorded in a church, you know like that Belle & Sebastian track� �Lazy Line Painter Jane�?� �well, yeah� I suppose�

�Still these lyrics though�? I cannae bear kids, ANYONE, recounting their drunken, drugged, whatever, adventures out on the town. ESPECIALLY when every other word is �crazy�. I thought psychedelic drugs were meant to expand your mind?� Well, yeah, I agree, but like when you listen to any other drug-addled teen, your brain just switches them off after a time, �out runnin� around/seein� every crazy sight� ma na na na ma na ma ma!� At least until the chorus, when the kids notice you drifting, and jolt your slumbering brain by bellowing in your ear, �HEY! We gotta be� OUT OF OUR TREE!!! OUT OF OUR TREE!�� Yes, yes, it certainly sounds like it.

This LP was recorded for export in 1968. The group is Dom Salvador (piano); Neco (guitar);Wilson Das Neves (drums); Pedro (percussion); Sergio (bass); and Joab, Zeze, Edgardo and Valeria on vocals.

P'ra Que Chorar is the opening track of this amazing LP. Its light, it moves, and the vocals are reminiscent of the landmark Sergio Mendes Brazil 66 recordings. Its also sung in English, as are several of the songs on the LP. Im not sure who penned the original version of the song, but its rendering here is wonderful and sets the tone for this entire landmark LP.

I plan to post the entire LP on my website www.sabadabada.com later this month.

Another hidden gem ,unreleased and gathering dust untill the age of "Deluxe Editions".A well known song from Tears for Fears covered by the then "hot"Paul Young within a matter of weeks of the original release.Stripped down to acoustic guitar and demo piano and some blokey backing vocals ,Youngs powerful voice cuts through the originals somewhat fey vocal style and reveals the songs muscle and sinew and another example of a song from a supposed synthetic era being as good as their organic rivals.

This stunning instrumental is a reasonably straight version of a classical piece by Maurice Ravel, originally written in 1899. Eumir plays piano over a dense string background, adding a tiny bit of jazz phrasing. The texture of the layered strings and piano is remarkably intense and beautiful, and the piece is quite exquisite. I expect this recording would offend classical purists, but I must admit that having heard this version first, I still like it the best. Perhaps this is down to the sheer richness of the string recording, which may be endowed by studio wizardry rarely used in classical recordings. Either way, it's really quite incredible, and I urge you to check it out.