‘I Saw Her Standing There’ by The Beatles, covered by The Pink Fairies – Magnificent Cover Version No.24

Twenty four cover versions so far in this list and this is the third Beatles cover, this time I Saw Her Standing There, the first track on their first album Please Please Me and the song from that LP that’s stood the test of time best. I could’ve gone for Daniel Johnston’s lo-fi, outsider, piano version, which is touching and charming right from the false start, but went for psychedelic proto-punks The Pink Fairies’ stoner-rock take on it instead.

The Pink Fairies started up in 1970 in Ladbroke Grove, London. They were drug-advocating hippies and contemporaries of Hawkwind with a fluid line-up that often included two drummers, which is always a good thing. They were another band I was introduced to through Millhouse‘s parents’ record collection. I saw Her Standing There was The Pink Fairies’ second single; a hard-edged, hippie-rock take on a rock ‘n’ roll classic, reminiscent of Steppenwolf or MC5.

Punking up a Beatles song fitted in perfectly with The Pink Fairies’ outsider stance. They prided themselves on being anti-rock establishment. The band’s drummer/vocalist Twink explained, “[In] the era of rock gods, inflated ticket prices, and total inaccessibility for fans, we wanted to tear it all down. We waved two fingers at corporate rock by setting up and playing OUTSIDE corporate rock events. We played only for free, after all money was the root of all evil, right?” Very hippie. Very punk rock.

 

Happiness Is A Warm Gun, by The Beatles covered by The Breeders

Helter Skelter by The Beatles, covered by Siouxsie & The Banshees

Summertime Blues by Eddie Cochran, covered by Blue Cheer

 

 

 

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‘When Tomorrow Hits’ by Mudhoney, covered by Spacemen 3 – Magnificent Cover Version No.22

Ah, Spacemen 3; neo-psychedelic, proto-shoegazing, effects pedal-piling experimentalists from the beautiful British Midlands that Noisecrumbs calls home. And Mudhoney; Seattle’s favourite, shaggy-haired, hedonistic, hard-drinkin’, garage-grunge, party band. Spacemen 3 and Mudhoney might not seem to have a lot in common, other than an audible Stooges influence – what worthwhile band hasn’t go that? – but these are two of my all-time favourite bands. This is in the large part down to their respective guitar sounds.

Mudhoney on stage  Spacemen-3-Press-4

For me, guitar sound is absolutely crucial – often more important than melody, lyrics or performance. A powerful, roaring, throaty, chord sequence can elevate an otherwise unremarkable song into something sublime. Over the years it’s been my only reason for listening to songs by Metallica and Pantera, it’s why Territorial Pissings is a personal highlight on Nevermind and it’s the main factor that’s sent me back repeatedly to play tunes by wonderful but forgotten bands like Bullet Lavolta, Lovecup, Starfish and Worms. In different ways, both Spacemen 3 and Mudhoney consistently sound like they’re joyously driving their Fenders and Marshalls to breaking point, and in Spacemen 3’s case, never more so than on their cover of Mudhoney’s When Tomorrow Hits.

Mudhoney’s original When Tomorrow Hits comes limping out of the heat-haze like a sinister desert drifter, with a loose, bluesy drone. You can hardly discern the lyrics Mark Arms drawls until the chorus, which consists of nine words – the title repeated three times. It builds over the course of the second verse to a fairly noisy climax – like tomorrow hitting – then it’s done, having clearly made its point. It’s low-key, by peak Mudhoney standards, but it’s a great song and you can see why the simple construction and repetitive elements appealed to Jason and Sonic Boom.

The Spacemen 3 version keeps the same structure, starting quiet with a simple drum beat, two chords and an insistent slide guitar. The vocals are just as impenetrable as on the original, with wobbly, echo effects obscuring the lyrics and, as with the original, there’s a foreshadowing of the climax in the chorus, before the crescendo, heralded by a squall of feedback at the end of verse two. This is where the song explodes. It erupts in a molten cacophony of shrieking feedback, wah-wah and pummelling overdrive, layered into a sound that’s absolutely gigantic. So much so, that the band struggle to bring the racket back under control and the cover runs nearly twice as long as the original while they tackle the chaos. When tomorrow hits in Jason and Sonic’s world, it hits on a fucking spectacular scale.

Spacemen 3’s cover of When Tomorrow Hits was meant to be half of a split single for Sub Pop, with the other side being Mudhoney’s cover of Spacemen 3’s Revolution. The project never happened though, because Sonic was pissed off when he heard Mudhoney’s cover and discovered that they’d changed the lyrics. So the collaboration was cancelled and Revolution came out on various bootlegs and the March To Fuzz retrospective, while When Tomorrow Hits became an album track and stunning highlight on Spacemen 3’s final studio album, Recurring.

Spacemen 3 had effectively dissolved before Recurring was even released, with Sonic and Jason unable to resolve the acrimony that had long existed between them, even with the prospect of a lucrative record deal and American tour to tempt them. They kept the split quiet until after the release then officially went their separate ways, with Jason going on to form Spiritualized and Sonic Boom going solo and recording and performing as Spectrum and E.A.R.

Sonic and Jason had always been incredibly productive – particularly for such dedicated stoners – working on side-projects during their Spacemen 3 days and getting their new ventures off the ground without a pause following that band’s sad demise. They’re both still active today and have released some fantastic music in the intervening years. But despite the acrimony that apparently existed between the two creative forces for much of the time that they collaborated, the material they produced as the seminal, psychedelic, Spacemen 3 remains their best work. It’s not all down to their guitar sound, but shit, as this cover demonstrates, they could really make some noise when they wanted to.

Mudhoney_album_cover  Recurring

‘Eight Miles High’ by The Byrds, covered by Husker Du – Magnificent Cover Version No.21

‘Love Buzz’ by Shocking Blue covered by Nirvana – Magnificent Cover Version No.11

The Cure’s ‘Just Like Heaven’ covered by Dinosaur Jr – Magnificent Cover Version No. 10

‘Eight Miles High’ by The Byrds, covered by Husker Du – Magnificent Cover Version No.21

‘Quite simply, it’s one of the most powerful pieces of rock music ever recorded”. That’s the view of eminent music writer Michael Azerrad on Husker Du’s cover of Eight Miles High. Wow! I like it, but I’m not sure I’d go quite that far.

Me, Millhouse and a couple of other mates had a terrible band for a while. One of the reasons it was terrible was that we spent more time trying to think of a suitable name than we did practising. One of the names we considered was Husker Don’t.

And yet Husker Du wasn’t a band that any of us particularly listened to at that time. This being the early-nineties their influence on contemporary alternative rock was often discussed in the music papers and Bob Mould was just getting his excellent new band Sugar together, but none of us had yet gone back to the source.

Another eminent music writer Everett True credits Husker Du – along with The Replacements and R.E.M. – with inventing alternative rock in the eighties ‘by adding a soulful, melodic edge to their abrasive punk influences’. He calls their Eight Miles High cover ‘mind-blowing’. Just to clarify, for the purposes of this post ’eminent’ in the context of music writers means that they have their own Wikipedia page.

The Byrds’ 1966 original Eight Miles High was a classic example of their jangly, psychedelic folk rock and their last US Top 20 hit. Banned by radio stations for its drug references, the title and lyrics also refer to The Byrds’ flight to the UK for a 1965 tour and their mixed reception on arrival – adulation from fans, hostility from rivals. The song’s originality, fusion of Eastern and Western sounds and influence on psychedelic rock make it an important cultural touchstone of its era. In 1984 when Husker Du covered it, it was still a beloved artefact for ageing hippies. Which is exactly why Husker Du went for it.

Like many in the eighties US punk scene, Bob Mould had long been disillusioned with what he saw as sixties counter-culture’s betrayal of its own ideals, the pinnacle of which being the election of Ronald Reagan as president. Husker Du’s furious assault on a sacred hippie hymn was an attack on them and their treachery.

The cover replaces the dreamy pop jangle of the original with excessive volume, distortion and aggression. Mould’s guitar work is sublime, slashing out the melodies in searing, high-velocity metallic squalls. At the beginning of the track, his voice is an angry roar; by the end it’s a furious, throat-shredding, animal holler. Despite the cacophony, The Byrds’ tune remains audible, presaging the direction that the band would take in their next two, classic albums, 1984’s Zen Arcade and 1985’s New Day Rising, both of which would retain the volume of their earlier work but with melodies more clearly detectable within the torrent of sound.

When looked at in context, maybe those eminent music journalists have a point about the significance of this cover version. It’s not just a mid-eighties hardcore band fucking around with a song from a contrasting genre – it’s a blistering attack on the philosophical failure of a previous generation’s subculture and a landmark recording in the life of an important and influential underground band. The combination of punk aggression and pop melodies that started here would grow and grow before exploding in the next decade.

Magnificent Cover Version No.6 – (I’m Not Your) ‘Steppin’ Stone’ by The Monkees, covered by Minor Threat

Magnificent Cover Version No.8 – Hurdy Gurdy Man by Donovan, covered by Butthole Surfers

Magnificent Cover Version No.2 – Happiness Is A Warm Gun by The Beatles, covered by The Breeders