The Beatles are the most popular band ever. Probably. What makes them so good is that all their recordings of their songs were definitive versions, you can't really improve on them. With the Beatles, there's no rescuing a song from obscurity because everyone knows all their songs by heart. So what do you do when you want to cover the Beatles? Well, I compiled some of my favorite Beatles covers so you can see how to do it right, Mr. Theoretical Person Who Wants to Cover the Beatles.
I Want to Hold Your Hand- Sparks
Sparks have been around since 1970. They've done art rock, chamber pop, glam rock, disco, dance, and just about every other major popular music form to develop since their formation. For their cover of "I Want to Hold Your Hand," a bonus track from 1975's
Indiscreet, Sparks turns in a gossamer orchestral version full of swooping strings and honeyed background vocals in the style of the Philadelphia Sound. Sparks turns a bouncy pop number into a slice of pure pre-rock gold. It's a sly joke on the band that changed rock music and you might just miss it because it sounds so beautiful.
Oh! Darling- George Benson
In 1969, Jazz guitarist and vocalist George Benson recorded a version of the Beatles'
Abbey Road. Released only a few months after the original album, Benson reimagines the Beatles' final album as a sprawling jazz opus. His take on "Oh! Darling" begins quietly with brushed drums, bluesy electric pianos, and near whispered vocals. Benson starts the song restrained, but as the horns play, he lets his vocals take a more prominent role before giving his guitar a lyrical solo and ending the song in an aching falsetto. Props must also go the Replacements, who incorporated "Oh!Darling" into their roaring, punky "Mr. Whirly."
Hey Jude- The Temptations
By 1969, The Temptations were trying to fit the new sound of psychedelic rock into their Motown R&B. The intro to their version of "Hey Jude" begins with a ragtime piano and adds a few guitars before putting in literal bells and whistles. The Temptations add a little swing into the time signature but keeps the music very based in rock music. Playing lines off of each other, for most of the song, the Temptations let out a display of vocal interplay during the iconic "na na na na" refrain that sounds like doo wop on fire.
Everybody's Got Something to Hide (Except for Me and My Monkey)- The Feelies
I don't know if the Feelies could play a song any other way but their way. So maybe their cover of "Everybody's God Something to Hide" is cheating. But The Feelies do turn the howling swagger of the Beatles' original into a nervous, fidgeting, light speed-spaz of a song. The Feelies' version of the song sounds like a paranoid fire station. But again, that's kind of how all their songs are.
Birthday feat. Esau Mwamwaya- The Ruby Suns
Last year, Malawi born British singer Esau Mwamwaya had a banner year. With the release of his mixtape with producer Radioclit as the Very Best, Mwamwaya reached international acclaim. This song, which is mostly a tropical, Panda Bear-esque, cover the verses with a new melody from Mwamwaya. There's a wide screen instrumental section before the first chorus and is truly great. If you ever need a song to soundtrack your birthday barbecue on a deserted island, this is that song.
You Can't Do That- Harry Nilsson
Harry Nilsson was John Lennon's favorite songwriter and the two were close friends. Shortly after the release of
Sgt. Pepper's Lonely Hearts Club Band, Nilsson released this cheeky cover that references many other Beatles' songs in Nilsson's background vocals. The song is very relaxed allowing the joke to be played for maximum effect.
Adolescence is a time when we begin to search out the structure of adulthood. What we are supposed to do to become an independent person is communicated to us in various verbal and nonverbal ways. These rules and the rituals and rites that are required of kids aren't always communicated effectively and a thick air of mystery can envelope a teenager.
The photographer Alison Malone produced a series of photographs about the Masonic Youth organization, the Daughters of Job that explores this process by superimposing over it an organization that uses different rituals and rites to form its youths into adult leaders. Malone doesn't resort to displaying these girls as strange, she was once a Daughter of Job herself. The photographs of the meeting halls, the leaders, the various ritualistic items may seem foreign but the look, the essence Malone captures in her portraits of the girls is instantly familiar to anyone who ever looked in the mirror during puberty and wasn't quite sure who was looking back.
Malone's photographs evoke the eerie feeling of otherness, of strange in-betweenness that adolescence produces. But they also display the strength one requires to grow up.
