I know I moan a lot so I think my blog is probably the best place to organise my thoughts and set the world to rights, without bothering people who simply don't care. That way anyone that does care can look at the blog at their own discretion and I won't piss them off with my incessant ranting.
I got a facebook message from Chris Hollis (lead singer, Frog Stupid / Scream!Shout!SayNothing!) the other day about the new cover versions of Hallelujah and the presenters on the radio seemingly not knowing anything about its origins or even its more recent history.
First off, Hallelujah is a beautiful song. It's one of the few songs that was actually worth being covered the sheer number of times it has (which incidentally is well over a hundred, and that's just in the 'popular' circles). Hallelujah was originally written in 1984 by Leonard Cohen. Originally a work filled with biblical imagery; however, later cover versions tended to make it more of a love song with sexual undertones. Indeed, Jeff Buckley, when talking about his version of Hallelujah (arguably the most famous, or at least the most popular cover) said in an interview with Rolling Stone that his version was about the Hallelujah of the Orgasm. Buckley's rendition of the song is widely considered to be the definitive edition as it rarely changes from recordings to stage performances. Indeed it is normally Buckley's version that is used when other artists endeavour to cover the song. Cohen's original is often overlooked due to its numerous versions and undefined lyrical objective. In fact, that's really what I want to talk about. I could go down one of two very interesting roots (well, interesting to me at least...). The reason for the Buckley version being so popular and so much more well known than the original version could be either due to the fact that Buckley's song was featured on the hugely popular film, Shrek, among other films etc.; or it could be down to the vulgar, yet all-too-likely fact that Cohen's version is an almost abstract, poetic study using biblical references and melodic devices, and Buckley's edition is to do with sex. I suspect that up to 2001, when Shrek was released, the reason was more to do with the content of the two different versions. But since the Shrek franchise popularised the newer version, it has been the former. Due to the fact that the Shrek demographic is very close to the target audience of popular music in general - especially the vast monolith that is The X Factor, the original Cohen version is almost completely masked by Buckley's rewrite. Whether or not this is a good thing is completely open to debate. That's not what I'm going to argue about today. Although I will say that one should at least be aware when a particular song they are hearing is not the original version of that song, especially when it is a cover of a cover. Or, in the case of the most recent outing, what I suspect to be a cover of a cover of a cover.
I am talking, of course, about Alexandra Burke, the recent winner of X Factor. Having raised this lucrative topic, I will try to be fair and just about it, but anyone who has listened to me talk for more than five minutes (especially recently) will know how I feel about reality television and all those fast-track to fame shows, most importantly X Factor. God I hate that show. Anyway, Simon Cowell and his label, Syco, have released Burke's cover of Hallelujah, advertised as the 2008 X Factor winning single, just in time for it to slip into the much coveted Christmas Number One spot. Most people who have heard this song appear to be under the impression that it is a cover of a Rufus Wainright or Jeff Buckley song. OK, so the arrangement does appear to be a reworking of Buckley's rework, but it seems so wrong that no-one knows that the original, beautiful Cohen composition even exists! This is what Mr. Hollis was getting so worked up about when listening to the Radio Heartbeat presenters discussing the Cohen classic, stating, "Oh, I know that. It's that song from Shrek!" and "That Jeff Buckley track." Philistines.
Now, I won't lie. I knew that Alexandra Burke was going to get Christmas Number One slot, but it didn't stop me from screaming at my radio as Scott Mills announced it. Having bitched about the ignorance of the general public, that's not actually why Burke's number one get's me so mad. Even the fact that the latest version is purely a cold vocal exercise and not a heartfelt devotion to the lyrical content of the original track is not the main reason for my disgust. It's the fact that ventures like the X Factor are tailor made to claim the moneymaker that is the Christmas Number One. It's a brilliant idea, and on one level, Cowell should be congratulated on his lucrative idea that no-one else has had. But on another level, think of the other acts publicised that deserved to get that spot. It is because of the sheer amount of money thrown at Burke that she got the recognition that she did. Yes she has talent, but it is only fair to the millions of other talented people out there that she go about her ambition like everyone else. OK, so it's slightly more fair and honest than finding a pretty face and saturating her voice in autotune to tailor make their cash cow. But it makes me sick how much of a monopoly this institute has over the number one slot at Christmas:
All X Factor winners. There were so many contenders this year, begging people not to make the same mistake FOUR YEARS IN A ROW!
It is very difficult for me to see this kind of chart abuse, when I have been immersed in many local music scenes over the years, and seen thousands of bands that don't need autotune, that don't need overhyped advertising and millions of pounds thrown at them to show people what they're made of. If those labels didn't throw so much money at worthless artists, then the real talent of this country could finally come out of the underground and make itself known!
I got a facebook message from Chris Hollis (lead singer, Frog Stupid / Scream!Shout!SayNothing!) the other day about the new cover versions of Hallelujah and the presenters on the radio seemingly not knowing anything about its origins or even its more recent history.
First off, Hallelujah is a beautiful song. It's one of the few songs that was actually worth being covered the sheer number of times it has (which incidentally is well over a hundred, and that's just in the 'popular' circles). Hallelujah was originally written in 1984 by Leonard Cohen. Originally a work filled with biblical imagery; however, later cover versions tended to make it more of a love song with sexual undertones. Indeed, Jeff Buckley, when talking about his version of Hallelujah (arguably the most famous, or at least the most popular cover) said in an interview with Rolling Stone that his version was about the Hallelujah of the Orgasm. Buckley's rendition of the song is widely considered to be the definitive edition as it rarely changes from recordings to stage performances. Indeed it is normally Buckley's version that is used when other artists endeavour to cover the song. Cohen's original is often overlooked due to its numerous versions and undefined lyrical objective. In fact, that's really what I want to talk about. I could go down one of two very interesting roots (well, interesting to me at least...). The reason for the Buckley version being so popular and so much more well known than the original version could be either due to the fact that Buckley's song was featured on the hugely popular film, Shrek, among other films etc.; or it could be down to the vulgar, yet all-too-likely fact that Cohen's version is an almost abstract, poetic study using biblical references and melodic devices, and Buckley's edition is to do with sex. I suspect that up to 2001, when Shrek was released, the reason was more to do with the content of the two different versions. But since the Shrek franchise popularised the newer version, it has been the former. Due to the fact that the Shrek demographic is very close to the target audience of popular music in general - especially the vast monolith that is The X Factor, the original Cohen version is almost completely masked by Buckley's rewrite. Whether or not this is a good thing is completely open to debate. That's not what I'm going to argue about today. Although I will say that one should at least be aware when a particular song they are hearing is not the original version of that song, especially when it is a cover of a cover. Or, in the case of the most recent outing, what I suspect to be a cover of a cover of a cover.
I am talking, of course, about Alexandra Burke, the recent winner of X Factor. Having raised this lucrative topic, I will try to be fair and just about it, but anyone who has listened to me talk for more than five minutes (especially recently) will know how I feel about reality television and all those fast-track to fame shows, most importantly X Factor. God I hate that show. Anyway, Simon Cowell and his label, Syco, have released Burke's cover of Hallelujah, advertised as the 2008 X Factor winning single, just in time for it to slip into the much coveted Christmas Number One spot. Most people who have heard this song appear to be under the impression that it is a cover of a Rufus Wainright or Jeff Buckley song. OK, so the arrangement does appear to be a reworking of Buckley's rework, but it seems so wrong that no-one knows that the original, beautiful Cohen composition even exists! This is what Mr. Hollis was getting so worked up about when listening to the Radio Heartbeat presenters discussing the Cohen classic, stating, "Oh, I know that. It's that song from Shrek!" and "That Jeff Buckley track." Philistines.
Now, I won't lie. I knew that Alexandra Burke was going to get Christmas Number One slot, but it didn't stop me from screaming at my radio as Scott Mills announced it. Having bitched about the ignorance of the general public, that's not actually why Burke's number one get's me so mad. Even the fact that the latest version is purely a cold vocal exercise and not a heartfelt devotion to the lyrical content of the original track is not the main reason for my disgust. It's the fact that ventures like the X Factor are tailor made to claim the moneymaker that is the Christmas Number One. It's a brilliant idea, and on one level, Cowell should be congratulated on his lucrative idea that no-one else has had. But on another level, think of the other acts publicised that deserved to get that spot. It is because of the sheer amount of money thrown at Burke that she got the recognition that she did. Yes she has talent, but it is only fair to the millions of other talented people out there that she go about her ambition like everyone else. OK, so it's slightly more fair and honest than finding a pretty face and saturating her voice in autotune to tailor make their cash cow. But it makes me sick how much of a monopoly this institute has over the number one slot at Christmas:
| 2005 | Shayne Ward | "That's My Goal" | |
|---|---|---|---|
| 2006 | Leona Lewis | "A Moment Like This" | |
| 2007 | Leon Jackson | "When You Believe" | |
| 2008 | Alexandra Burke | "Hallelujah" |
All X Factor winners. There were so many contenders this year, begging people not to make the same mistake FOUR YEARS IN A ROW!
It is very difficult for me to see this kind of chart abuse, when I have been immersed in many local music scenes over the years, and seen thousands of bands that don't need autotune, that don't need overhyped advertising and millions of pounds thrown at them to show people what they're made of. If those labels didn't throw so much money at worthless artists, then the real talent of this country could finally come out of the underground and make itself known!
Peter, I love you and I want to touch you in the gentleman's area, but you must get your facts straight. Jeff Buckley's version of Hallelujah may be the most popular, but it was the John Cale version (arguably the best version) that was featured on Shrek.
ReplyDeleteSorry for being petty.