Lone Justice were a next-big-thing that never really happened back in the 1980s. Lone Justice (w/ Bono) – Sweet Jane (Velvet Underground cover) A few years later, the American hardcore band Hüsker Dü played this cover of “Sweet Jane” live, in their trademark buzz saw style. In 1980, Gang of Four performed a metallic version of the song live, at a gig in San Francisco. The influence of the Velvet Underground on punk music has long been recognized, and it didn’t take long for punk bands to latch on to “Sweet Jane.” Eater, an early English punk band made up of teenagers of limited musical talent but limitless enthusiasm, released this loud, fast version on their debut album in 1978. Eater – Sweet Jane (Velvet Underground cover) This cover, recorded at the end of last August on a boat circling Manhattan, features Grateful Dead bassist Phil Lesh and a band that includes his sons Grahame and Brian they do a nice job recreating the Rock ‘n’ Roll Animal version, but somehow add a definite Dead twist. The live version of “Sweet Jane,” especially the introduction showcasing the interplay between guitarists Steve Hunter and Dick Wagner (who both also played with Alice Cooper… and Peter Gabriel) is thrilling. However, after the disappointing commercial response to his depressing Berlin album, Reed decided to release Rock ‘n’ Roll Animal, a live album featuring his touring band, most of whom were more influenced by hard rock than the moodier Velvet Underground sound. Reed continued to perform “Sweet Jane” after he left the Velvet Underground and embarked on his solo career. Phil Lesh and the Terrapin Family Band – Sweet Jane (Velvet Underground cover) It joins the Hoople approach to the Reed vocals and makes for an interesting comparison to the Hunter-led version. Ian Hunter, Mott the Hoople’s vocalist, did not share this admiration - he thought that the Velvet Underground “stunk,” and didn’t get along with Reed – but they recorded the song anyway, even though Hunter has been quoted as saying “it wasn’t us.” Their version is a somewhat cleaner, more straightforward rock version of the song, made better (as is anything in the world) with more cowbell.Īs a bonus, here is a recording from the All The Young Dudes recording sessions (produced by Bowie, while also co-producing Reed’s Transformer), with Reed singing a guide vocal. Bowie also suggested that they cover “Sweet Jane,” because of his admiration for Reed. Bowie handed them “All The Young Dudes” (after the band rejected “Suffragette City,” and Bowie denied them “Drive-In Saturday”) and produced their album, and instead of breaking up, the band became famous. The story of how Mott the Hoople was about to disband when David Bowie convinced them to give it another go is pretty well known. Mott the Hoople – Sweet Jane (Velvet Underground cover) Not when there are so many more little-known treasures out there. So we will not be presenting that cover – nor, for that matter, will you hear any of the various versions based around that cover. Probably the most famous version was released by the Cowboy Junkies based on a live version by the Velvets from 1969, it hit #5 on the Billboard Modern Rock charts, and Reed himself allegedly called it “the best and most authentic version I have ever heard.” Of course, artists don’t always properly appreciate their own music, and to these ears, the Cowboy Junkies turn the song into a lugubrious snoozefest. It should come as no surprise that “Sweet Jane” is also an oft-covered song – any bar band could play those three chords, and most of them did and do. And now, in honor of Reed’s passing earlier this week at the age of 71, the time has come to write about it here on Cover Me. According to Rolling Stone, it is the 335th greatest song of all time, which is curiously specific. What’s the appeal? Part of it, of course, is the riff (which apparently includes a “ secret chord”), part of it is the indescribable cool of Reed’s delivery, and part of it is that magic that makes some songs great and others not so much. Released on 1970’s Loaded, the Velvet Underground’s last studio album featuring Lou Reed, it immediately became a staple of FM radio, despite its odd and provocative lyrics, unusual structure, and unconventional sound, and it continues to get airplay to this day.
0 Comments
Leave a Reply. |