key punk covers — not a best-of list

Happy Sunday, people! I hope you’re having a lovely, lovely weekend. I wish there were some pithy way to riff on the absurdity of the posturing in DC, with the continued separation of keywords  (“negotiate,” “good faith,” “will of the people,” “Americans for Prosperity”) from their historical meaning, but it is distinctive, awe-inspiring and, in the end, I figure, alas, brutal and debilitating.

So, let me offer something short and sharp for your consideration: five key punk covers, in order of historical appearance. One of the virtues of punk was its recuperation of the cover song. In the rock-as-art movement commencing with The Beatles’ Rubber Soul (1965), the turn to the original composition was a key factor separating rock from pop and, in turn, away from the black influence of blues, R&B, and even jazz, for which the cover or the standard was a key part of the repertoire. The Rolling Stones, of course, took steps to “keep it real” as the bluesy bad-boys foil to The Beatles by offering a cover song on nearly every disc post-1967 (not Goat Heads Soup–1973), for those of keeping score at home).

Rather than the cover song as something a combo played before they got better, punks held onto covers, and The Clash blazed the way in this regard, offering up lovely renditions of Mose Allison’s “Look Here” and Eddy Grant’s “Police on My Back” on Sandinista! The Sex Pistols didn’t last long enough to bother, but their posthumous releases, including The Great Rock’n’Roll Swindle, documents their (disdainful) affection for The Modern Lovers’ “Road Runner”–a punk standard, if there ever was one–and Chuck Berry’s “Johnny B. Goode,” The Who’s “Substitute,” and, regretfully, Sid’s interpretation of “My Way.”

For a punk cover to rise to greatness, I suggest it needs to do one or more of the following things:

1) it takes a somber song and makes it joyful.
2) It offers a fun challenge to our sensibilities, by disrupting our notions of racialization, class, gender, or sexuality.
3) It offers a renaissance of the joy of rock’n’roll before rock-as-art and draws a connection between early 60s rock (or before) and the present.
4) It takes something that appears to be powerful and makes it wimpy, but with total “badassery”–my favorite recent entry in the Oxford English Dictionary.

The results, of course, can be unsettling and, in turn, provide immeasurable inspiration to make it through the day.

I’d be happy to hear your version of this history, but I believe it commences with Patti Smith’s “Gloria,” and the unrivaled opening verbal gambit. From SNL 1976:

A year later, of course, The Ramones release their debut LP, which includes a cover of “Let’s Dance,” but it’s the second LP when The Ramones truly shine as interpreters of rockabilly and surf guitar classics. Here’s a brief–although I suppose with The Ramones, it’s always brief–rendition of The Ramones doing “California Sun”:

The Clash, legend has it, had nearly wrapped up the recording of their debut LP and, with 13 songs in the mix, they had 28 minutes of material. They decided to record Junior Murvin and Lee Perry’s “Police and Thieves” (live super-snarl mix included here) for the album and, in doing so, made history by insisting on the inimitable blackness of their musical forebears.

I’m not sure this track rises to the historical significance of the others included here, but I have a real soft spot for decidedly groovy interpretation of “I Heard It Through the Grapevine” by The Slits. It insists on the imperative of joy, and there’s rarely anything wrong with that.

It seems impossible that there isn’t a great punk cover between 1979 and 1985, but I’ve got to give a nod here to Aztec Camera’s cover of Van Halen’s “Jump,” which I recall hearing on rock radio in Sacramento and Stockton back in the day. The DJ would play some, if not all, of the track, and ask listeners to call in to weigh in on this travesty. They all hated it. I loved it. Roddy Frame and co. stripped bare David Lee Roth and co. of the bluster, the guitar and keyboard virtuosity, the spandex and the hairspray to show the world in plainspeak what exactly the song was about. (Of course a song is more than its lyrics, but not in this rendition.) In turn, they produced one of the purest, if mellowest, punk gestures ever.

Enjoy!

Advertisements

5 thoughts on “key punk covers — not a best-of list”

  1. I love ‘Jump’ too – there’s also a ‘fully loaded’ version that goes into an ironic metal solo at the end. The fun you can have by interpreting ‘record machine’ as the music industry instead of the jukebox Dave Lee Roth was leering from!

  2. A few days ago, I uploaded Sid doing ‘My Way’ to my youtube channel. From ‘The Great Rock+Roll Swindle. SId’s clip was the only ‘good’ thing about the movie. It was a piece of shit. Very hard to sit through, ’cause it was so stupid…I used to have it on VHS tape back in the day. I dubbed this video clip to another tape, and never watched that Maclaren wank-fest again.

    I love all the Clash’s covers. I can even listen to Mick singing ‘Every Little Bit Hurts’ all the way through…once in a while.

    I love the Specials cover of Pressure Drop. It has a certain goofy ‘Badassness’ to it…

    Sids most excellent cover of ‘My Way’ with a perfect ending of gunfire into the audience…

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s