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Posts Tagged ‘Louis Armstrong’

Battle of the Mega-Medleys: Circle Jerks vs. Eugene Chadbourne and the Red Clay Ramblers vs. Soul Asylum

Posted: April 15, 2016 in THE CLASH of Cover Medleys
Tags: (you're) having my baby, afternoon delight, ain't misbehavin', along comes mary, always on my mind, Bee Gees, birth school work death, Black Flag, body slam, Bootsy Collins, Buffalo Springfield, Butthole Surfers, Captain & Tennille, Circle Jerks, d-i-v-o-r-c-e, damaged goods, dang me, england swings, Ernest Tubb, Eugene Chadbourne, for what it's worth, free for all, Gang of Four, get down tonight, golden shower of hits, i don't believe you want to get up and dance (Oops Upside Your Head), i started a joke, i'm waiting for my man, imagine, james at 16, John Lennon, Johnny Mathis, KC & The Sunshine Band, Louis Armstrong, love will keep us together, Lulu, medley in c, misty, Paul Anka, peaceful easy feeling, play that funky music white boy, Prince, Procol Harem, Red Clay Ramblers, Rod Stewart, Roger Miller, san francisco nights, some guys have all the luck, Soul Asylum, Starland Vocal Band, stayin' alive, Tammy Wynette, Ted Nugent, Terence Trent D'Arby, The Animals, The Association, The Carpenters, the cross, The Eagles, The Gap Band, The Godfathers, The Persuaders, the shah sleeps in lee harvey's grave, The Velvet Underground, they long to be close to you, to sir with love, tv party, waltz across texas, whiter shade of pale, Wild Cherry, Willie Nelson, wishing well

Pots-Pourris du Jour: “Golden Shower of Hits” / “Medley in C” / “James at 16”

THE CLASH of Cover Medleys: Circle Jerks vs. Eugene Chadbourne and the Red Clay Ramblers vs. Soul Asylum

VOTE, COMMENT, then TURN THE BEAT AROUND

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Official Cover Me Impressed Medley Definitions:

For our purposes we will rely on medley standards as outlined at the 2012 Institute of Chartered Music Listeners Music-Medley Symposium, which identified and defined the following categories of

Broccoli For Miles
And Miles And Miles
And Miles And Miles …
Oh Yeah!

Music Medleys:

The Meager-Medley – a musical composition comprised of parts from two independent songs.

The Mini-Medley – a musical composition comprised of parts from three independent songs.

The Medial-Medley – a musical composition comprised of parts from four independent songs.

The Mega-Medley – a musical composition comprised of parts from five or more independent songs.

THE CLASH of Cover Medleys

Circle Jerks vs. Eugene Chadbourne and the Red Clay Ramblers vs. Soul Asylum

Circle Jerks: Golden Shower of Hits

“Along Comes Mary” (The Association) / “(They Long to be) Close to You” (The Carpenters) / “Afternoon Delight” (Starland Vocal Band) / “(You’re) Having My Baby” (Paul Anka) / “Love Will Keep Us Together” (Captain & Tennille) / “D-I-V-O-R-C-E” (Tammy Wynette)

Eugene Chadbourne and the Red Clay Ramblers: Medley in C

“Always on My Mind” (Willie Nelson) / “Whiter Shade of Pale” (Procol Harem) / “San Francisco Nights” (The Animals) / “Ain’t Misbehavin’ ” (Louis Armstrong) / “Imagine” (John Lennon) / “TV Party” (Black Flag) / “Misty” (Johnny Mathis) / “Dang Me” (Roger Miller) / “England Swings” (Roger Miller) / “I Started a Joke” (Bee Gees) / “To Sir With Love” (Lulu) / “Waltz Across Texas” (Ernest Tubb) / “The Shah Sleeps in Lee Harvey’s Grave” (Butthole Surfers)

Soul Asylum: James at 16

“The Cross” (Prince) / “For What it’s Worth” (Buffalo Springfield) / “I’m Waiting for My Man” (The Velvet Underground) / “Birth, School, Work, Death” (The Godfathers) / “Damaged Goods” (Gang of Four) / “Play that Funky Music” (Wild Cherry) / “Free For All” (Ted Nugent) / “I Don’t Believe You Want to Get Up and Dance (Oops, Upside Your Head)” (The Gap Band) / “Body Slam” (Bootsy Collins) / “Stayin’ Alive” (Bee Gees) / “Wishing Well” (Terence Trent D’Arby) / “Get Down Tonight” (KC & the Sunshine Band) / “Peaceful Easy Family” (The Eagles)

SPACE

Oh the disharmony! Much like Harlan County there are no neutrals here. It is your solemn responsibility to decide which medley of cover songs prevails. In other words … Which Side Are You On?!!?

Disclaimer: Votes cast from Florida may or may not be counted.

Bertolt Brecht & Kurt Weill: “Moritat von Mackie Messer” (subsequently “Mack the Knife”)

Posted: January 25, 2014 in Reigning Pooh-Bah Maximus of Cover Tune, THE CLASH of Cover Tunes
Tags: Bertolt Brecht, Bobby Darrin, Die Dreigroschenoper, Ella Fitzgerald, Kurt Gerron, Kurt Weill, Louis Armstrong, Lyle Lovett, Mack the Knife, Moritat, Moritat von Mackie Messer, Nick Cave, Nick Cave & The Bad Seeds, the threepenny opera

Tune du Jour: “Mack the Knife” – Bobby Darrin

THE CLASH of Cover Tunes: Nick Cave vs. Lyle Lovett

Peruse, Comment and Vote (I Beseech, Implore and Urge Thee, respectively)

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“Free markets will not prevail without unfettered competition among cover songs.” – Milton Friedbyrd

Moritat von Mackie Messer is a song written by Bertolt Brecht and composed by Kurt Weill for their play Die Dreigroschenoper. Die Dreigroschenoper premiered in Berlin in 1928. The opening song, Moritat von Mackie Messer, was originally sung by actor Kurt Gerron.

In 1954 Marc Blitzstein translated Die Dreigroschenoper into English (i.e. The Threepenny Opera) and the play enjoyed a six-year run Off-Broadway. It is Blitzstein’s translation that became the basis for the popularized American song, Mack the Knife.

In 1954, Louis Armstrong was the first musician to score a hit with Mack the Knife. Of course, Bobby Darrin’s Mack the Knife, recorded in 1959, set an unparalleled standard of excellence for the song. Another popular version of Mack the Knife is Ella Fitzgerald’s 1960 live version. After the first verse poor Ella forgot the rest of the song. Yet Ella’s amazing improvisation thereafter earned her a Grammy for the performance.

Die Dreigroschenoper: Moritat von Mackie Messer

Kurt Gerron (1928):

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Mack the Knife

Louis Armstrong (1954):

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Bobby Darrin (1959):

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Ella Fitzgerald (1960):

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THE CLASH of Cover Songs

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Nick Cave vs. Lyle Lovett

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Nick Cave (1995):

Nick Cave holds the distinction of being CMI’s Reigning Exultant Virtuosic Performer of “Mack the Knife“. Additionally, Nick Cave is a recipient of CMI’s universally coveted title of Bi-Victor Melodious Maximus in Adversarial Replication. Among the title’s myriad of rewards and benefits, perhaps most desirous is that it bestows upon the recipient the eminently yearned for privilege of having one’s name appear in print media in orange.

Nick Cave’s triumphal exploits in CMI’s THE CLASH of Cover Tunes competitions are detailed below:

11/9/2013 – “Moritat von Mackie Messer” (Bertolt Brecht & Kurt Weil) – Nick Cave (86%) shellacks The Psychedelic Furs (14%)

10/6/2013 – “Suzanne” (Leonard Cohen) – Nick Cave with Perla Batella & Julie Christenson (83%) quash Geoffrey Oryema (17%)

This is shortened version of Nick Cave’s rendition that I included solely for the Caveman’s stellar choreography:

Lyle Lovett (1994):

Oh the disharmony! Much like Harlan County there are no neutrals here. Only one cover tune will live to play another day and it is your solemn responsibility to decide which one prevails. So tell me … Which Side Are You On?!!?

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Votes can be cast up to seven days from the day and time of the original post.

Disclaimer: Votes cast from Florida may or may not be counted.

Bertolt Brecht & Kurt Weil: “Moritat von Mackie Messer” (subsequently “Mack the Knife”)

Posted: November 9, 2013 in THE CLASH of Cover Tunes
Tags: Bertolt Brecht, Bobby Darrin, COVER SONGS, Die Dreigroschenoper, Ella Fitzgerald, Kurt Gerron, Kurt Weill, Louis Armstrong, Mack the Knife, Moritat, Moritat von Mackie Messer, Nick Cave, Nick Cave & The Bad Seeds, Psychedelic Furs, the threepenny opera

Broccoli Fields Forever …

Moritat von Mackie Messer is a song written by Bertolt Brecht and composed by Kurt Weil for their play Die Dreigrosohenoper. Die Dreigrosohenoper premiered in Berlin in 1928. The opening song, Moritat von Mackie Messer, was originally sung by actor Kurt Gerron.

In 1954 Marc Blitzstein translated Die Dreigrosohenoper into English (i.e. The Threepenny Opera) and the play enjoyed a six-year run Off-Broadway. It is Blitzstein’s translation that became the basis for the popularized American song, Mack the Knife.