And in any case, Leonard Nimoy made that song his own.
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I missed the Dylan comment. Even if you're heartily sick of the Hendrix cover (along with bloody Hallelujah, it was just another way to make the Watchmen movie even more a ridiculous mess), it's still a damn good version. Can kind of see where they were coming from with the Temptations but maybe that just cos ive never heard that song before.
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Indeed. Joni Mitchell wrote it, but didn't record it until two years after Judy Collins did. Challenges the definition of "cover." Still, I prefer Joni Mitchell's version.
I don't agree with Taylor about covers of Dylan either, but music is a personal experience so maybe he really doesn't like any of the covers as much as the original. That's his taste.
I do reject the idea that Hendrix et al don't "get" Dylan, because that assumes that there's some kind of core essence of Dylaness and I reject that on ontological grounds. Dylan's music is Dylan's music, every molecular vibration of it. A cover may "lose something" that was in his version, but only the listener can determine for themselves if what was lost in translation matters or not and if what's been added by the covering artist offsets that loss.
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Originally posted by Lang Spoon View Post"Maconieville". Dying, as I believe is the new parlance for lol.
The mysterious next week falls reflect the incoherence of that time of year, people still working out what they want to listen to in the new year.
It was also incredibly bleak that winter culturally, pre-Channel 4, Smiths and Young Ones. I appreciate that Dare is a great album but it's also ice cold, minimalist, no frills. You can see why the turn to lighter fluff like Duran Duran and Culture Club would occur by early 1983.
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Stuart Maconie probably has pull in t’media now. A frightening thought. He could write a half decent sentence though, and it’s not his fault he seems to have been born aged 35. It was his erstwhile best pal Andrew Collins that must have been the most talentless dairylea bland wet handshake of a music scribbler this side of Steve Sutherland or Ian Gittins. Taking the opposite view to that shower on everything without even hearing would normally see you right down the record shop.Last edited by Lang Spoon; 21-09-2017, 19:28.
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Where else could you get such exhaustive analysis of Brown Sauce?
The Bucks Fizz clip mentioned on episode #11 is properly WTF.
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Cheryl doing the pretend going down on the knees is very awkward and probably not allowed pre-Watershed back then (I would have expected some censorship if it was attempted on TOTP)
Cheryl ironically later did the same Saturday morning kids TV slot that Brown Sauce had earlier occupied.
A topical fact that the episode missed: Jan 82 was Tony Blackburn's last month doing the Radio 1 Top 40 show.
http://www.radiorewind.co.uk/radio1/...les_charts.htm
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It's quite interesting that TOTP sometimes used Musikladen or Beat Club clips from West-German TV. I don't recall Musikladen, which was aimed at an adult audience, ever using TOTP clips. But Disco, which was much more geared towards Germany's youth, used TOTP clips every month, at least in its earlier years.
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It was very good indeed but not enough Maconie bashing. Why did the NME turn to shit? Name the guilty men.
The tunes are a bit pointless for the reason the episode stated: they only stuck around for a week then started to fall down the chart. Not enough time to stick in the memory or produce any associations. Whereas albums did hang around and you could recognize a Blur song from the album being played regularly rather than the single.
The section on Alison Moyet is very good and brings forth real passionate anger.
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