Re: covers in general

[Mike Westbrook <mwest@atc-1s.HAC.COM>]

For those of us lucky enough to go to the Who convention, and who bought
"The Who in Sweden", there was a CD of Who covers by Swedish groups, most
of which were pretty good, if not always too different from the originals
(and with some "interesting" interpretation of some of the English lyrics).
I'll get my copy from home tomorrow and list them for those of you who
care; I doubt this thread will have died by then.  [I'll also retype in
the fax that Townshend sent to the convention organizers and fans, which
appeared in the convention program--I can't find the text file I typed it
into in October while my Who link was down. :-( ]


}Date: Mon, 20 Nov 1995 16:31:34 -0500 (EST)
}From: Ian Derby <csc2imd@cabell.vcu.edu>
}Subject: covers in general
}
}...
}
}>From a Who standpoint, I can't imagine "Man With Money" sounding any
}better.  This song still brings me chills when I hear it.

The Fabulous Poodles did a really good version on their album "Think Pink".
(What *did* happen to the FabPoos, anyway?  They were obviously not bionic
after all...)


}...  Roger just can't replace Muddy Waters.

Let's face it, NOBODY can replace Muddy Waters.


}...
}BTW for all of those who question Kit Lambert's production
}techniques on Tommy:  Joe Grimes and I were listening to the Kinks'

Hi, Joe!  I see you made it back OK!


}"Arthur (or the rise and fall of the british empire)" Saturday and
}really were baffled by the poor production.  Arthur has the sad
}distinction of being released just after Tommy, which of course had
}to take a back seat.  Probably the Kinks best album (well second to
}Village Green Preservation society, a true masterpiece) which has a more
}consise storyline than Tommy, it lacks the musical aspect.

I've always liked "Part 1: Lola vs. Powerman and the Money-go-round" and
"Muswell Hillbillies" better--more consistent song quality.  (I've got
"Arthur" on CD, but I haven't listened to "Village Green" since my turntable
packed it in.)


}Ray Davies had learned all of his production techniques from Shel Talmy, 

Not from what Raymond Douglas (Davies) says in "X-Ray", his "unauthorized
autobiography"--he recorded the "real" version of "You Really Got Me" when
Shel was not in the studio, after Shel had refused to do a retake.  I think
it was this song that Shel didn't notice the difference in when he heard it
next day, which certainly lost him a lot of respect from Ray.  (Ray and
Dave also used to call the little green amp that was the source of their
original fuzz sound "the fart amp".  They used to have it in the sitting
room at their family home, and Dave "modified" it by puncturing the cone
with a knitting needle.  I think the neat sound was serendipitous.)


}who finally left after their album "Something Else" (1968).  Anyway, 
}just be fortunate that Tommy didn't sound dry and lifeless as any Shel 
}Talmy production would indicate.
}
}
}When Jon Astley finishes with the Who, the Kinks 60's recordings on
}Reprise would be a great project for him.
}

That would be "Pye", not "Reprise"; it's like asking Astley to redo the
Who US Decca versions rather than the UK versions.  (Heaven forbid!)


> Mike <