The Songfight Smiths Review Thread

[j$]

A whole bunch of songfighters have covered Smiths songs for your delectation.

If you want to review, I'm sure everyone will want to hear what you think. So put those reviews in here!

[Hoblit]

Johnny Marr unwittingly inspired Ska, who knew.

[Billy's Little Trip]

Wow, they're all so good. It will be a tough vote.

[Paco Del Stinko]

It will indeed be a tough vote, I'm hoping that some straggler shows up with a stunner to make it easier. Of course, I know which one I won't be voting for, so that's one down. I'll put up some comments tomorrow, I'm reviewed out from the Thumb fight. Thanks, J$!

Johnny Marr unwittingly inspired Ska, who knew.

That's funny, I thought of playing some chords on the up-beat as well, but too fast and enough going on as is.

[ujnhunter]

Awsome entries guys! I'm enjoying them all quite a bit... I'll have to post reviews later. I'm holding off on my vote until Weds(?) in case anyone is a late comer, but all so far are great!

[Nigel (spOOn) Clements]

Just a few thoughts, not really reviews, because you guys are seriously good, and all deserve the most excellent accolade! (except one!)

Albatross - Heaven Knows I'm Miserable Now: Really rather an accurate cover, extremely enjoyable, if you were just a touch breathier, you'd have nailed the whole thing, just quite simply gorgeous playing, first class execution! and that's quite a euphoric ending.

Cock - I Know It's Over: Such a beautiful intro for such a beautiful song, for someone who can't play ( ) to achieve such an excellent version of one of the Smith's most gorgeous tracks is simply stunning, and this is simply stunning! That wonderful tremelo in your voice that I've mentioned before, really kicks in around 4:10 and gives the track a roxy music feel, you should exploit that talent!

Hoblit - Girlfriend In A Coma: Nice banging punk/ska influenced version of this classic, love the overlapping la la la's, and the croak in the vocals is near perfect, over far too quickly.

Cynthia Size - Is It Really So Strange?: The whole Flying Lizards approach is interesting, and although I know I'm gonna get slated for the use of Cynthia, I do actually like the backing track, (mainly because I actually managed to work out the chords... mostly!!!).

Johnny Cashpoint - Bigmouth Strikes Again: I was itching for the extra instrumentation to kick in, and once the self harmonies come on line this enters a near wonderful place, everything after 0:38 is simply a complete listening pleasure, the break at 1:10 is almost tribal, brilliant!

Jack Shite - There Is A Light That Never Goes Out: Another quite accurate version, not overly convinced that the effect on the vocal is nessesary as it tends to distract a touch from the simplistic yet wholly impressive and effective backing track, the strings that come in at the end are wonderfully exectuted.

Jim Tyrrell - Please Please Please Let Me Get What I Want: Ah! Jim, you really do have a lovely voice, and this was an inspired choice of song for you, nothing else I can say, fabulous!

Melvin - Panic: Awesome work melvin, not what I was expecting from you (that sounds wrong, your work is always awesome), I just thought you'd hit this track harder, with more of an edge, this sounds so easy, it's almost horizontal, without becoming lackadaisical, inspiring!

Paco Del Stinko - I Want The One I Can't Have: Fantastic, but you were supposed to do a Smith's cover, not record one of your own songs... oh! hang on, this really does sound like a Paco Del Stinko track, you've wrapped your own style completely around this track and made it your own, this is a big favourite!

Porky's Vertical Anaconda - Some Girls Are Bigger Than Others: Oh you guitarists are so good!, another very excellent tribute to a wonderful song from an awesome band, vocally exquisite, and the playing is just over there in that room that's labelled 'for people who really know what they're doing only'... I'm running out of superlatives!!!

[Paco Del Stinko]

I listened to each of these no less than five times each, the exceptions being the two that I was involved with. I definitely enjoyed every tune here, and am hard pressed to find something bad to say about any. (not that one has to, I suppose) Great tunes in, great tunes out. Gimme a shout if I'm unclear about anything.

Albatross – Heaven Knows I’m Miserable Now - I think your voice is fine here, Albatross. Nice and sensitive, this should easily get you a date on your pick a song page. If there's anything wrong with it, it's that it's a bit back in the mix: it makes the guitars seem almost a bit loudish. The guitars are nice and crispy w/o being sharp sounding and are very well played. I dig the bass line and tone, and the almost secret keys that occasionally reveal their supportive selves. Very nice song.

Cock – I Know It’s Over - This is nice and soft, as it should be. A strong attack on the keys or guitar sounds wouldn't be a good fit. Still, the big CRACK of a ballad snare would not hurt here, although not necessary. I do like it best when the guitars start in 3:40ish, such bitter-sweetness. I think you did a good job of avoiding whinyness, which I'm sure could result if put in the wrong hands. Nicely done.

Cynthia Size & The Eclectic Spoons – Is It Really So Strange? - I'd rather not use the word cute here, but it just seems so appropriate, especially for the verses. This is a mostly sunny version here, and I can't help but feel good while listening to it. The chorus changes are just weird enough but don't venture into head scratching land. I think a key to its success is that the rhythm track doesn't get too manicy, and the more straight forward approach keeps it accessible. I struggle a bit understanding Cynthia, but she is also part of the charm. Sweet and gentle.

Hoblit – Girlfriend In A Coma - This is just good fun, and could be the theme for a really weird sit-com. That's not meant as a put-down, but rather a compliment to it's stick with you-ness. The upbeat tempo contrasts well with the crunchy punches, and your voice is a perfect fit. I was always a bit on the fence with this song, but I like it more than ever after this version. I don't know that it's too short, either, as this is a good one for making you want some more or repeated listens. Top notcher!

Johnny Cashpoint – Bigmouth Strikes Again - I totally dig the uke on crank at the start, but the pulsing bass throws it over the top in a good way. The airy pads provide the soothing stroke that keeps you from feeling too jittery and your voice is right at home here. The voice almost sounds sped up a couple of times, but I like how it provides an almost waver to the lyrical lines. This is nice and heady w/o being dizzifying. As always, you tell a lot with a little, and no big stacks of anything are required. Way good.

Jack Shite – There Is A Light That Never Goes Out - I like the lean arrangement here and enjoy the obvious lack of guitarage. Imagine! Smiths with no guitars, yet it works well. There's a sad, lonely feel to the vocal delivery that is quite appropriate. I've always loved the lines about getting hit by the bus, truck, and all that, and you manage to deliver them while avoiding making them sound silly. This could almost pass for easy listening at times, but the moody bass lines, extra deep feeling, keep it dark and little uneasy feeling. Quality stuff.

Jim Tyrrell - Please Please Please Let Me Get What I Want - One of my favorite Smiths songs, you only do it justice by respecting its clouds in the eyes feel. Nice sense of longing captured here, paced well, not densely arranged. The well mixed instruments complement it nicely, I really like that hint of sitar sound or whatever it is. You caught the vocal right, where you don't sound bored or disinterested, but still soft and a bit down. Tastefully done.

Melvin – Panic - This is a fun track. I think that I may prefer this to the original which is from later in the Smiths career, where I didn't enjoy all of their stuff as much as the earlier songs. The dynamics are wonderful with the crunchage and splashes of keys. Good drumming as well and the way-echoed out guitar at the end is great. The throbbing bass and almost lazy guitar are perfect and your voice fits well here. You didn't even wobble the pedastal that you have these guys on. Excellent work.

Paco Del Stinko – I Want The One I Can’t Have - Well, when I finished recording the vocals I thought they were...ok, but after listening back a few times I don't know how I fooled myself into thinking that. This is just a bit faster than the original, as I didn't want it to drag, but I initially had a case of Popeye arm while learning the bass line. I also realized how much this style of bass is in my style, although it probably crept in subconciously.

Porky’s Vertical Anaconda – Some Girls Are Bigger Than Others - Well, I played a bastardized version of the guitar line here, but honestly, the credit goes to, um, 'Porky'. His moody bass, soft spoken vocals and wise production brought this up to Smiths level, in my book. The mood is there, and I get a bit goose-bumpy during each listen. Another of my Smiths favorites,(geez, how many?)I've listened to this version at least a dozen times and enjoy it each time. It's not a radical departure from the original, but this song feels like it was written by the performer. I love it.

[jack]

some of these are among my favorite smiths tunes (F) and some of these i'm not familiar with (U).

Albatross
hey, you do a pretty good morrisey, maybe could have even come up a bit in the mix too. playing is very good all the way around. nice job! i like the ska feel too. (U)

Cock
wow, great swirling vocals and pads. the sparse arrangement works very well here, mostly because you pull off the vocals with such gusto. the chimes are a nice touch too. (F)

Cynthia Size and the E. Spoon
weird and warped and well done. nice blips and bleeps and handclaps. (U)

Hoblit
freakin love this dude. you OWN this. white boy ska. seriously chris, if your ghostown gridlock band busted this out for an encore, the place would go fuckin apeshit. (F)

Johnny Cashpoint
perhaps the single best matching of artist with song title. i like the sparse opening and having the bass and drums build in. it's weird how the mix sounds very compressed until the wide pan stuff comes in right after the first chorus. again, i like how you re-interpret this into the typical cashpoint angst. your harmony vocals just get better and better my friend. (F)

Jack Shite
a one take vocal with lots of reverb. lots of reverb. i would have loved some help from jim t but i was way behind on this. which leads me to......

Jim Tyrrell
very nice! great guitar work and great vocals! (U)

Melvin
nice! it's got that melvin high pro glow! great ska guitars and the multi tracked vocal section is truly fat. i'd have never guessed it was a smiths tune. (U)

Paco
It's like phish covering the smiths. really excellent execution. absolutely ripping guitars, love the wah. way to take full ownership here paco. tight with a capital T. (F)

Porky's Vertical Anaconda
damned if that isn't the best friggin johnny marr guitar imitation i have ever heard. and the bass is truly outstanding. the interplay between the guitars and the bass is flawless. and ray, your vocals are so made for this tune. just an outstanding take. maybe one of the best covers i've ever heard on songfight, and i've heard alot. (F)


all good, but i gotta give it up for the PVA.

[Hoblit]

some of these are among my favorite smiths tunes (F) and some of these i'm not familiar with (U).
Hoblit
freakin love this dude. you OWN this. white boy ska. seriously chris, if your ghostown gridlock band busted this out for an encore, the place would go fuckin apeshit. (F)

Hey, thanks man. This would have fit nicely in the Ghost Town Gridlock set but alas it was never to be.

I've got nothing planned during the day tomorrow and I shall put forth some reviews. I was hoping for more entries before I got down to business.

[j$]

Johnny Cashpoint The voice almost sounds sped up a couple of times ...

Good spot, Paco - the whole song was pitch-shifted up a semi-tone, to improve its anxious, jumpy feel; the only thing that the original (my favourite Smiths songs by a country mile) doesn't have enough of IMO.

j$

[j$]

The mighty Hell Yeahs have been added to the vote page / stream / voting mechanism so get over there and check it out. even if you've voted already i am sure Phil & Heather would appreciate some feedback - speaking of which I intend to review tonight.

There's already been some heavy voting, and currently two (one expected, one not) are tied for frist place, and there's a gaggle only one or two votes behind the leaders, so your vote will count - get on to it, kids! Deadline for voting Wednesday 7th May.

Finally if anyone is still covering and not yet submitting their Smiths song, I am happy to add you to the stream, bearing in mind however good your song is, only the first vote from each IP address counts, so the longer you take, the more votes will be already be spoken for. Also I am on holiday from Thursday so Wednesday night is probably your last chance.

j$

[Paco Del Stinko]

The Hell Yeahs - The high energy of this can not be denied. I can't help but picture some gal getting all dolled up and readying to go to the fair, and after you guys pictures of the state fair a year ago, it all makes perfect sense. I kind of miss the weird falsetto things that the big M does, but the surprise la-la-la-las are a pleasant treat. At first I thought it was just a straight up jangley rocker, but the many guitar layers are varied and subtle, adding a new dimension on each listen. There's also a bit near the end where it sounds like it's going to go into a breakdown, and wonder if that might not have been kind of fun, and POW! back in with the turbo charge, but I'm really not complaining. Good, good tune, well worth the wait.

[Nigel (spOOn) Clements]

The Hell Yeahs: excellent punkified 60's girl group meet the big Moz and like Charlie says the many layers of guitar comes across very much as a homage to Mr. Marr, this to me sounds very much as if The Smith's had been born as The Pixies but in 1967... not sure if that makes sense to anyone but myself, but bottom line is, this kicks ass!

[Heather. Redmon.]

*j$, thank you so much for posting our entry! I wish it wasn't late, but I'm so glad we got it done. It was a labo(u)r of love! We also did a cover of 'What She Said' that I'll be posting a link to when Phil's done mixing it.

*Nigel and Charles (Paco) - thank you so much for taking the time to go back and review our cover. Your reviews were so nice and made my day!

I've listened to all of the songs and have nothing but nice things to say about each one. Reviews to follow before the voting is over.

Thanks again!

[j$]

So I am not the biggest Smiths fan in the world but the songs I do like I love.

WAIL.

Albatross – have you created a new genre here – nice-lounge-jazz-skank-rock? Good work if you have, man. Actually the frail confidence of the (good) vocal adds to the mood of the piece considerably. I could imagine this being played by a lounge band in a hotel bar-room in the background of a scene in some Adam Sandler movie. Given the bass given is slippery and snake-ish it could maybe come up higher in the mix, giving the overall feel a damper, wetter sound. Other than that I am totally enjoying it.

Cock – This makes me think of Berlin, both the city and the 80s band. You have a good, pleasing voice, weirdly not that disimiliar in tone from Albatross’. It builds very nicely towards a very affecting mood overall. Possibly a little spare for my tastes but I can see the merits of keeping it stripped back. Also too long for me, but not unbearably so. I end the song feeling weirdly moved.

Cynthia et al – This is great. Cynthia suits the piece perfectly. I like the ironic but not sarcastic reduction of Johnny Marr’s role to malfunctioning smoke alarm I am not hearing the original coming out of it but I am not that familiar with it so perhaps I should go listen again to really appreciate what you have done with/to it. I like the big epic ‘sonic cathedral ©NME 1988) guitar tone in the verses, not so keen on the more distorted one in the chorus (I know they’re probably keyboards but hey) It’s interesting that the quality of the drum programming only shines through at the points nothing else is playing – they sound really quite funky and complicated, yet under the body of the song it sounds like a ZX-81 drum machine! Not sure what I can suggest to help that out – it’s probably an EQ issue. This is probably 30 seconds too long but a good, enjoyable solid cover.

Hoblit – Who let Jimmy Eat World into the room? Heh. Love that heavy guitar on the chorus and the bonkers bassline. Being a little too young to remember the Smiths properly first time round, this was always one of my favourites of theirs and while personally I prefer the approach of the original but this is great, and iyou practically claim it as your own, so kudos. Oh and great singing, man.

Hell Yeahs – it is shameful to admit I don’t know this one. But that just means it sounds like another classic Hell Yeahs song to me. Vocal is great and some awesome wall of guitarin’ going on – though no trademark scolding hot solo, Phil? Boo to you What else to say? Maybe a little long (?) but still makes me want to stomp around the room like Godzilla on Tokyo for three minutes. Hoorah!

J$ - that’ll be me, then! This was originally meant to be just uke & vocal – George Formby does Morrissey. But I am not a good enough uke player and my northern accent sucks shit, so I thought I’d dub it up a bit. Then it felt a bit flat in mood so I sped it up a bit. Nowhere as good as the original (little is) but despite being a weird mesh of ideas, I like how it came out enough.

Jack – I like this a lot – there is a feeling of mad old bloke with no shoes on the beach with his Yahama begging for change. This is oddly meant as a compliment! The vocal is pretty strong for what I think you said was a rush-job. Shame you didn’t crack out your guitar towards the end of the song, but other than that solid shite-y goodness!

Jim Tyrrell – this keeps veering towards country MOR then threatening to turn into a Pink Floyd epic – what is that backwards sound that pops up every now and again? – but held down by a voice that sounds gruff and whiskey-soaked and terribly sad which suits the song perfectly. Kind of ends abruptly, in terms of it reaching a mood climax then stopping immediately – but nothing wrong with that.

Melvin – personally I am not sure about the wisdom of covering a song as London-centric and not updating the verses – some would consider doing that sacrilege but I am wondering whether you have ever been to Carlisle? It’s a skanky town for sure, but not in terms of music yeah, I like the swirly epicness of the instrumental section and when you hit the refrain (though it could have gone on muuuuccchh longer) with the high harmonies I am happy. It’s just, like with Hoblit, you chose a song I am very fond of, and thus it would take a helluva lot to win me over from the original.

Paco Del Stinko – that’s awesome, just awesome. Guitar tone is awesome. The vocal is smart as (I am excluding the strangled high note from my review for kindness’ sake ) Drives along at a helluva pace. Ends at the right time. Really very cool. Groin-tingling, one might say (if one were me).

PVA – Nice guitaring again – CR’s vocals are spot on in tone, almost possibly too uncannily accurate in mood and tone and approach, like the world’s best karaoke performance. The production overall though good suffers from coming right after the burning nun that was the PdS song. It seems a little glabrous. Heh. Yet it seems the perfect song to end the fight – another well envoked mood.

Good collection of songs. Paco Del Stinko for me, just, from the mighty Hell Yeahs. i will wait until just before the deadline to vote though, because it might all change.

[Albatross]

I've been anointed with one of Cashpoint's trademark off-the-cuff genre definitions. I feel truly blessed.

For what it's worth, here's a slightly reworked version of my entry. Didn't do much with the vox, but I did do a few subtle things, like rein in that rogue triangle loop that was a bit too hot and panned a bit too far.

Reviews to come.

[Heather. Redmon.]

As previously mentioned, here is a link to our cover of 'What She Said'. It's at the bottom of page in the covers section!

[ujnhunter]

reviews! or comments... i've never listened to much from the smiths... until this fight... so, all these songs are original to me, which is kinda nice...

Albatross: I like the mix... and the guitar work. is it considered cheating if you hired morrissey to record the vocals? j/k... i like your vocals... overall i really have nothing bad to say about this one... it's pretty good all around... except maybe the flange sound at the end on the guitars...?

Cock: you suck! what is wrong with you?! j/k I had fun with this song... basically having not really heard much of the smiths (i knew of 3 morrissey songs, and only one was orig! one david bowie & one t.rex cover... heh) i loaded my mp3 player with some albums and hit play... i believe IKIO was the 3rd track I heard... and immediately loved it and had to pick this one, considering it pretty much summed up my life the past few months... anyhow... enough about me... shall we continue?

Cynthia: I like this one... but it's hard to make out what the vocals are saying... It sounds vaguely familiar for some reason too... weird. I dig it. I find myself strangely aroused... (no, not like that...) but it perks up my senses... cool stuff.

Hoblit: I'm dancing around... I like your la la la part... heh. The chorus guitars are in very stark contrast to the rest of the song... not sure I like that... but it's just my ears switching back and forth between funky danceyness to riff heavy rockiness... good song overall...

j$: i like the almost lofi sound of the beginning, and the speed up feel... good vocals, i like the Oh oh oh... i like this one...

Shite: I like the organ... don't know about the flange sound on the drums tho... (then again i didn't even record drums! doh...) i like the ending... the strings... not bad overall...

jimmy T: good mix... i like your vocals... & drums. very tight, i like the overall sound... nothing bad to say.

melv-er-roonie: i've already said that i dig this song... good mix... and i really like the ending "hang the dj" parts... i'm a sucker for repeating harmonies/lalalalas/ohohohs heh. very catchy...

paco de stink: cool guitar work... i like the drums too. the overall sound on this is nice too... really cool guitars... nuff said.

Porky: dig the bass & swirly guitars... nice vocals... another catchy one... (i realize the catchiness is probably the orig. song... but i haven't heard the orig. to these songs...) i like the double vocals on the chorus parts... i like the sound on this one... and the guitar parts. hrmm... possible.

Hell Yeahs: i like the bass & the up tempo drums... i like the la la las something seems off to me on the overall mix tho... sounds overly bassy... (?) not bad... just off... otherwise, groovy.

well folks, you've all done a fantastico job-o... i'm glad i could take part in this, it was fun and all your entries might have made a smiths fan out of me! tho i'm sure i will like your versions best!

[Caravan Ray]

Paco Del Stinko – that’s awesome, just awesome. Guitar tone is awesome. The vocal is smart as (I am excluding the strangled high note from my review for kindness’ sake ) Drives along at a helluva pace. Ends at the right time. Really very cool. Groin-tingling, one might say (if one were me).

I'll ditto J$ on all that (well, except for the groin-tingling bit - that's too much information) - vote for PdS from me too. Hoblit a close second.

Great songs all round - surprisingly good really! I was thinking things could turn out a bit ugly - but this is possible the best coverfight I've been in. Well done all

will try to do reviews if time permits

[j$]

Just a little reminder that voting ends on Wednesday 7th May at 12.00 Midnight wherever you are, so if you're intending to vote, don't forget!

Cheers

j$

[Hoblit]

Abatross: Pretty darn good translation. I think this song could have been eq'd a little better to blend the instruments. The main guitar was a bit much at times... especially with the vocals kind of moved back in the mix. OTHERWISE, this song is solid and pretty much an updated version of this song.

Cock: I like how you took the rest of the light out of this song. The song was dark enough but you basically stripped it down to all darkness. I feel romantically sad listening to your version. It feels hopeless and I can relate to the despair. You did this old song justice and made it even more emotional that ever. Good work. I like the guitar work and your singing, while a little shaky at times is really good overall.

Cynthia: I get it, Cynthia, synth. I didn't really like this. It didn't really grasp any of the original song. I wouldn't have any idea that this was a cover unless I carefully studied the words that I can't hear very well to begin with. I can give you credit for making it your own, and no cover should be exactly like the original, but this one was taken a little too far out and I think it got lost in translation.

Hoblit: No matter what angle I tried it always came back to this. So I just parodied myself and this is what I got.

Hellyeahs: I love the guitar and bass. They are pretty true to the sound and feel of the original but still have your own punky flavor salt and peppered in. While I'm not crazy about the vocals I'm not entirely sure why. I know that they are an octave lower than the original but thats not it. And while your voice is clearly better than L7's, I still get this L7 feel... I think its the octave and the attitude. Overall this is a good entry.

j$.: I like the mandolin (or mandolin sounding instrument) with the dry vocals over it. You captured every bit of the attitude of this song but you left out all of the intricate skill. WHICH IS REALLY COOL actually. I like the trashy and junky sound you get out of the performance. Good job and I actually like this better each time I listen.

Jack: Never pictured you as a Smiths' song coverer do0d. I think you do a pretty decent job but would have loved to hear a third or fourth take on the vocal track. Everything else is there and I do like the keyboard touches and the choice of patches. Pretty song made and stayed pretty. Good work.

JT: This is probably the most famous Smiths' song (next to How Soon is Now?) and you had a lot to go up against, but you met the challenge. You really did well here. I can't help but think that you really didn't want to stray away from the original and you wanted to bring almost all of that with you. You only tried to enhance it from there. That you did. I could easily get into this anytime I heard it. It'll never replace the original but yet somehow, its still a great substitute. Thanks for not ripping it apart, and thanks again for bringing the A game to a great song.

Melvin: This is my favorite. This will be my vote. I like the indie rock version of this. Heck, I might even like this version better than the original. You really did update this song for the modern listener. I like the lazy drums and the fun dry vocal track. The electric guitars are great, both the reggae / ska and the distorted accents. You sir are win.

Paco: I don't know why you are so worried about your vocals. They might be shaky at times but overall I really did your vocal style. This is my second favorite entry and I like it for much the same reasons as Melvin's. If these two Smiths' covers were all I had to go on I'd totally tell ya'll to get into a band together. I love your guitar work on this just like I like his. I think ya'lls voices are similar in their dry delivery and both of you grab almost the same indie sound. I'm digging this.

Porky: You somehow channeled Johnny Marr right into your recording studio or you are him. Maybe you know him and had him over for tea. Either way you emulate his guitar style and sound from performance right down to the chorus effect. I think this entry is MOST like the original in overall sound. JT's is also pretty close but it sounds like you studied the guitarist and pretty much nailed it. (Although the solos kinda go a little Robert Smith here and there). Very good work and I think you did this song great justice. Another one that brings an old song up to date...but still leaving in those 80's accents.

[Caravan Ray]

Porky: You somehow channeled Johnny Marr right into your recording studio or you are him. Maybe you know him and had him over for tea. Either way you emulate his guitar style and sound from performance right down to the chorus effect....(Although the solos kinda go a little Robert Smith here and there).

Thank you sir

For the record - it was Paco channelling Johnny Marr - the solos going a little Robert Smith would be my input