10/21/2023 0 Comments Deja vu albumSpin Doctors – Woodstock (Joni Mitchell cover) Part of her tribute to the singer-songwriters of Canada, Hymns of the 49th Parallel, this is the highlight and, frankly, serves to render any comparisons elsewhere invalid. Hell, Kathleen Dawn does “Helpless” better even than Neil, both in the sensitivity of the exquisite arrangement and her cool and calm vocals, beautiful passive aggression in a musical notation. Even fellow Canucks the Cowboy Junkies don’t come close. Those who have already guessed this one may feel my imagination insufficient, but go search the competition. The Dayglo Abortions? Canadians with a track record for offense, then winning cases against accusations of obscenity, active to this day, albeit with an ever-evolving lineup. C’mon, who could resist an album called Two Dogs Fucking, a title so crass it can’t help but work? I don’t normally go for thrash punk covers, but I kinda like this, as it buoys along apace, the vocals shoutier by far than Crosby’s, appropriately and, likely, compulsorily for this band. Well, Queensrÿche’s cover tempted me, if only because I have never knowingly ever heard anything by them, but, in the end it had to be this. So who in their right mind would cover this ridiculous posturing? Hell, even Stephen Stills wanted it off Deja Vu. (No, he wasn’t he was pretending.) Dayglo Abortions – Almost Cut My Hair (CSNY cover) Plus it has the advantage of taking my mind off the excruciating Jerry Garcia faux-steel. Normally otherwise only covered in a country or bluegrass style, this renders the lyric a reasonable aspiration, without smacking too close of talking in tongues or kissing snakes. For it is his voice, matching his appearance, like an old testament prophet, that gives gravitas to a song so twee it can rot teeth. Much as the opener on the original, the message implicit is: beat that!! Richie Havens – Teach Your Children (CSNY cover)įorgive and ignore the curious asynchronicity of the acoustic guitar thrashing away, Havens’ own work, seemingly at odds with the determinedly tasteful electric noodling, as if each sucked in from a separate recordings than Haven’s sepulchral voice. Hard to believe, at the time of performance, that this was a song then a year short of 50 years old. The guitar parts and the keyboards both stick enough and stray enough from the formative setting to convey one whole new blast of fresh air. Being just that bit more ragged does the song, and the performers, enormous credit. Surely “Carry On” is an impossible song to cover, so indebted is it to the vocal arrangement? You’d think so, but, whilst in no way could we consider this any great re-envisioning, Willie’s boys nail it and some. Lukas Nelson & Promise of the Real – Carry On (CSNY cover) Like most of our Full Cover posts, we have near-endless options for some songs and had to go scrounging for others – no trouble finding covers of “Teach Your Children,” but how many versions of “Everybody I Love You” have you heard? See what you think of the ten songs we pulled together here… It still seems the pinnacle of their collective career, the only real instance wherein the deceitful artifice of any group collective manages fully to convince, melding individual directions with a combined corporacy. Certified gold within a fortnight, partly on the back of $2 million presales, it spent nearly two years in the Billboard chart, despite largely grudging and lackluster reviews. Somehow Deja Vu holds together cohesively, in no small part down to the rhythm section, the excellent Dallas Taylor and Greg Reeves. Completion took hours, days and weeks.īut it was all worth it. Young did everything on the half of the album he appears on all by himself, then took away the contributions of the others to mix as he saw fit. All the vocals save “Woodstock” were recorded separately and then spliced together, amid much argument and revision. Maybe he did however much I loved the trio, they were always in a different league with Young’s fiery presence on board.ĭeja Vu came out in 1970, after being put together in different studios and at different times, with only selections of the four featuring at any one time. Old compadre and sparring partner of Stephen Stills in Buffalo Springfield, there was always the fear he could engineer the gig to being as big a draw in his own right as the trio he joined. To me he always seemed their secret weapon. His second gig, he appeared for the electric second part of the set. Of course, Neil Young had already joined the band by the time they got there, if mysteriously missing from the film in its initial iteration. Crosby, Stills and Nash had already staked their claim as a bona fide supergroup courtesy their first release, cemented by their appearance in the Woodstock documentary.
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