Elvis songs done better by others

[Neil.]

People (Elvis included) often say that Robert Wyatt's version of Shipbuilding is the definitive one. I actually prefer Elvis's version much more, with its richer production and Elvis's beautiful vocal.

But there are others that I far prefer the covers of. 'Dirty Rotten Shame' by Ronnie Drew, with it's cracked, booze 'n' cigarettes vocal, far better suits the lyric, which speaks of sheer exhaustion at life, and of 'broken nags that tremble as they groan'. Elvis's version is too pretty, certainly if you're used to Ronnie's version.

Any others?

[johnfoyle]

Tasmin Archer's version of All Grown Up is the best - Elvis agrees-

http://www.elviscostello.info/wiki/inde ... Rendezvous

Liner Notes: Songs Of Elvis Costello: Bespoke Songs, Lost Dogs, Detours & Rendezvous

"ALL GROWN UP" -- Tasmin Archer

I began this tune in Cincinnati, Ohio. The voice that I had in my imagination was Carl Wilson of The Beach Boys. Although I never made any attempt to send the song to him, his handling of some of his brother's songs of lost innocence was very influential on my thinking.

By the time I came to record it for the album Mighty Like A Rose I had developed the odd notion that all potentially beautiful melodies should be placed under severe strain, and therefore treated it to a very harsh vocal delivery.

Tasmin Archer's version was part of an EP that also FEATUREd "Shipbuilding," "New Amsterdam," and "Deep, Dark Truthful Mirror." She was much more generous with the music and also more compassionate with the lyrical subject. Then again, Tasmin didn't have the misfortune to know the persons concerned.

[Poor Deportee]

Tasmin Archer's version of All Grown Up is the best - Elvis agrees-

http://www.elviscostello.info/wiki/inde ... Rendezvous

Liner Notes: Songs Of Elvis Costello: Bespoke Songs, Lost Dogs, Detours & Rendezvous

"ALL GROWN UP" -- Tasmin Archer

I began this tune in Cincinnati, Ohio. The voice that I had in my imagination was Carl Wilson of The Beach Boys. Although I never made any attempt to send the song to him, his handling of some of his brother's songs of lost innocence was very influential on my thinking.

By the time I came to record it for the album Mighty Like A Rose I had developed the odd notion that all potentially beautiful melodies should be placed under severe strain, and therefore treated it to a very harsh vocal delivery.

Tasmin Archer's version was part of an EP that also FEATUREd "Shipbuilding," "New Amsterdam," and "Deep, Dark Truthful Mirror." She was much more generous with the music and also more compassionate with the lyrical subject. Then again, Tasmin didn't have the misfortune to know the persons concerned.

I suppose I'm an outlier, in that I think EC is in really splendid voice on MLAR. I'm not talking so much about his execution, but about the timbre of the voice itself. It's so worked in and rich - might actually be his best recorded voice. As for execution, I don't think it's so bad either on that record. I'd argue that the problem with his version of 'All Grown Up' is actually the zany score. It's completely fey and seems pointless in relation to the tune itself.

I also want to make a case for the song itself. Hell, I'll go out on a limb and propose it as one of EC's most interesting and original compositions - a searing look at the ignorant bravado of late-adolescent 'rebellion' and its consequences. In many ways this is the ultimate anti-rock-and-roll song. For that reason alone it's a rather remarkable piece, and also for that reason, one of his least appreciated IMHO.

None of this is to deny that Archer's version might be better, of course.

[Shatteredmannequin]

The one that jumps to mind for me is June Tabor's version of "I Want To Vanish". It's on her "Against The Streams" album, which came out before ATUB- so hers was the version I heard first. She sings it so beautifully, and the melody just floored me when I heard it. I was so anxious to hear Elvis' version, but didn't like it nearly as much. June's vocal has this aching, wishful yearning that just matches the melody so well- whereas Elvis' vocal definitely takes a more defeated tone. Makes sense, given the lyric- but I still much prefer her version.

[John]

I think quite often it is the first version of a song you hear you tend to like the best.

Dave Edmunds' Girls Talk is far better than Elvis' two efforts and a big hit over here. I remember being so disappointed with Elvis' version when I first heard it on the Ten Bloody Mary's gold cassette. I thought at first it must just be the poor quality cassette I had bought, but it didn't improve much when I bought the Imp LP a few years later.

[Jack of All Parades]

I have been always far more partial to Nick Lowe's cover of Indoor Fireworks. His understated vocal and delicate arrangement always seems to catch the anguish I hear in the song whenever I play it. Far superior to my ears than the version done by EC. I also am partial to Norma Waterson's version of The Birds Will Still Be Singing. Perhaps it is because of the great accompaniment she receives from Richard Thompson and Martin Carthy, but she just manages to bring out the old English ballad heritage of the song. Every time I hear her version I think that is worthy of that great lyricist 'anonymous'. I too much more prefer June Tabor's I Want to Vanish.

And nothing beats Chet Baker's take on the war horse Almost Blue- he shows why, if it isn't a standard, why it should be and how it should be done. I always love the tasteful brushing of the drummer in the back of the arrangement. I still think my late father in law and his best friend Zoot Sims should have cut this song- I think they would have done it justice- just listen:

http://www.youtube.com/watch?v=z4PKzz81m5c

ps- the saddest thing is that the comments that accompany the video show no indication that any of the commentators know the composer of the song- sad to think he is so out of the mainstream consciousness as a composer.

[Neil.]

'Hidden Shame' is another one, for me. He wrote it for Cash, Cash covered it... and even its writer couldn't top the version of the man he'd penned it for. Elvis must've been so proud.

But he out-Cashed Cash with his amazingly clever lyric.

'Now there's a different kind of prison
And it don't even have to look much like a cell
It's already on your mind, boy
We can see it in your eyes
So here's the bars and walls as well'

That lyric marks Elvis out as the poet - the strangeness, delivered in few words, of some organisation putting someone in prison because he looks like he's fated to it - and all in phrases that aren't as clunky as I used, and work only with the music in tow.

And the devastating climax, when 'they only got me for they ideas in my head - they never got me for the thing I really did'.

Anyway, I meant to say how great Johnny C's version is - it's better than Elvis's demo and more recent 'proper' version - but I couldn't resist praising the song as a whole.

[Jeremy Dylan]

I really can't think of any examples of this. I much prefer his version of 'Shipbuilding' to Robert Wyatt's (although I love Steve Nieve's solo on the latter) and both his demo and especially the Sugarcanes versions of 'Hidden Shame' beat Johnny Cash's all to hell.

[20PercentAmnesia]

While not 'better" per se', a very likeable take on "Uncomplicated". Not recorded to my knowledge, just a youtube cover.

http://www.youtube.com/watch?v=4pVlE3QU ... ideo_title

[Boy With A Problem]

How about Roy Orbison and The Comedians

[History History]

Better or worse?...You decide!

http://www.youtube.com/watch?v=Vx1eSDOe ... re=related

[Poor Deportee]

How about Roy Orbison and The Comedians

Sh*t, yeah. Roy just smashes that one out of the park.

I should say that my namesake - the Deportees Club - is absolutely superbly done by Christy Moore. Both these performances turn muddled tracks into positively great songs; the latter in particular might be one of the finest moments EC has ever been associated with.

[bronxapostle]

there's a song i've never seen LIVE that should also make it to the wheel: THE COMEDIANS!