How to Cover a Beatles Tune: A Primer
The best way to give advice on covering a song by one of music's time-honored, industry changing, legendary artists would first be to say, "Don't do it!" Of course many of you will not take this advice and feel it is your duty to artistically pay homage. If on the other hand, you're covering the song because you are incapable of creating anything worth recording, and as such subscribe to the school of cover-a-well-known-song-and-it's-a-guaranteed-hit—if this is the case, you will be lined up and summarily shot. Now, assuming talking you out of doing the cover is out of the question, we'll start by expressing what NOT to do.
What Not To Do
Unless you and your band are legendary artists yourselves, avoid the total remake. While the desire to express one's style is an overwhelmingly powerful urge, it only comes off as a nose-thumbing "Hey, you did this wrong! Let us show you how it should be done…" Completely changing the style also tends to cause a foul reaction in the gut of the listener, resulting in the mouth dropping open, a screwed-up nose, and furrowed brow–generally followed by an unfavorable exclamation, such as "What the HELL?", "Good gravy!", or as my own notes indicate, "Ack!!!" A good example of this would be Alison Solo's punk rendition of "Paperback Writer" (this is where the "Ack" came in). While I imagine I might otherwise enjoy Alison's work, her almost staccato and sometimes angry flat vocals just do not lend itself to this song. Another example is Stacey Wheal's "Here, There & Everywhere", which borders on the side of opera singing. Granted, the style of this song was originally intended to be slow and beautiful, but the vocals (which I initially thought were meant as a joke) wind up sounding shrill compared to the otherwise soothing ballad. Meanwhile, Al Kooper's Eric Clapton-meets-Marilyn Manson vocals on "Eleanor Rigby" is just plain wrong. It is also strenuously suggested that one avoid making such mistakes as producing an '80s metal version of "Oh Darling" like that of Phil Vincent. Finally, saving the best (or worst) for last–The Deal's attempt at a James Hetfield heavy-metal-growly "Eight Days A Week" is an absolute sacrilege. Same goes for Steve Barton's punked-out "She's Leaving Home". GoodNESS!
The Right Way (With More Hints on What Not to Do)
On the other hand, using your own style can be an accent or a furtherance of an otherwise great song. Example: Cadence's "Drive My Car", which is a very artsy use of vocals and sounds. They've added a certain groove, making the listener want to put it on repeat to avoid anymore "Ack! reactions". Unfortunately the ego of most new bands is "I'm the greatest!" and everyone thinks they are capable of taking a Beatles song to the next level. So, please, for all that is right and holy, first go with the assumption that you're not! Even if Uncle Pete and Grandma say your band is the best.
Another no no is to cover a song that has been done 1,000 times already. For instance: "Helter Skelter". Yes, this is a great song. And yes, it rocks. But U2, Pat Benatar, Aerosmith, Oasis, Motley Crue, Siouxsie and the Banshee's, ad infinitum have already been there. We're beyond sloppy seconds at this point. But, if you insist on doing it, please don't scream your way through! Did you all hear the heavy sigh and see the tisk-tisk motion I just made towards Popdudes for making this very mistake?
To avoid sneers and jeers, try remaking in such a manner that almost dupes the listener into believing it's the original. Take Andrew Gold's "Lady Madonna". Another show of this is The Kings' "For No One", Dave Rave/The Wretches' "Here Comes The Sun", Jeremy Morris' "It's All Too Much", and M. White & A. Gold's "Got To Get You Into My Life", which are slightly more modern, but the vocals were very on point.
You could also try to add a little more modern (without going over the top), to make a rock song more rock (The First Time's "Eleanor Rigby", Frank Soda's "I Feel Fine", The Ooh's "You're Gonna Lose That Girl", Brian Gagnon's "Golden Slumbers Medley", or Receiver's "Mean Mr. Mustard"); A trippy song just slightly more trippy ("Hey! Bulldog" by The Lackloves, Donkey's "Because" - though the whistle thing is rather disconcerting, or Spongetone's "Being for the Benefit of Mr. Kite"); A ballad a bit more ballady (Walter Clevenger & The Dairy King's beautiful "I Will", Bill Lloyd's "Across the Universe", or Eight Seconds' "Hey Jude")…you get the idea. As an aside, I'd like to personally thank Eight Seconds for changing up the otherwise hellaciously repetitive original ending. (Sorry, but in my humble opinion, the original is just too damn monotonous!)
Should you have any doubts, try to err on the side of mellow, provided you have the vocals to carry out such an endeavor. Tom Hooper's "Long Long Long" is a great example, as is Sun PK's "I'm Happy Just To Dance With You"; Geoff Gibbons' "I Need You"; the rasped-up version of "Norwegian Wood" by Cats and Dogs; and Phil Angotti's "I'm Only Sleeping". Meanwhile, the wrong way includes vocals produced in a fashion much like that of Dr. Lotech with Mrs. Hippie's "Taxman", sounding a bit like Adam Sandler. [Valuable and Important Note (not pointed at Dr. Lotech or Mrs. Hippie but still valid): Many unsuccessful bands are simply being held back by bad vocals. There's a reason for this. Not everyone can sing! And those that CAN often refuse to take a few simple lessons that will aid them in better controlling their voices. The point here? Even if you think you've got the best voice in musical history, you can only benefit by a few lessons. Worst case your vocal instructor points out that you're tone deaf and saves us from having to hear your squalloring!]
If the band you're covering is so legendary as to be considered retro, and retro is currently in style, you might want to try a modern a la retro sound. Though explaining exactly how to do that is nearly impossible and runs the risk of sounding like White Stripes (please, no). Listen to "Don't Bother Me" by Eytan Mirsky or Goddo's "You Can't Do That" and jot down some notes, because they managed to get it right. Another good showing of the modern retro remake is Jeff Jones' "I've Just Seen A Face" or "And Your Bird Can Sing" covered by Godovitz & Segarini.
In closing, and in defense of the sound beating I've given to some artists here, I will admit that covering one of the most influential bands in history would more than likely prove to be a daunting task. It offers a chance for otherwise intriguing and interesting bands to leave listeners scampering off in all directions with their ears covered while forming opinions based on what they hear in a bad cover. I'm pretty sure this is the case with many of the bands I've ripped apart here. I'm certain some of them, in another setting, I might actually enjoy. As such, treat this reviewing of It Was 40 Years Ago Today: A Tribute To the Beatles as a warning...a public service message, if you will. Don't let your band fall into the aforementioned traps! We'll all be the better for it!
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