Welcome to a part two of an ongoing series of freaky, funky, cool, and occasionally downright weird cover songs! A great cover can not only put a smile on our faces by delivering a familiar song in a new light, but also show another side of the performer's personality.
First off, we have a SMOLDERINGLY sexy take on the late-period Beatles track "Get Back" presented in a style that only Tina Turner can lay out. The band plays it pretty straight compared to the Beatles original, emphasizing the soulfulness of the original cut. for all his unspeakable nastiness, Ike was one hell of a guitarist and I'm relatively certain that's him taking the guitar breaks.It took Oakland, CA's Pointer Sisters (June, Bonnie and Anita) quite a few years to hit their commercial peak, which hit in the late '70's and continued through the 80's. The sisters' earlier sides on Atlantic and Blue Thumb deliver some SERIOUS heat, as the sisters harmonies are gorgeous, and the assembled backing band kicks some serious ass. On this track, the sisters update the Willie Dixon vis KoKo Taylor classic and give it a superbad, funky 70's take that feels SO RIGHT. Not as majestic, frightening and mysterious as KoKo's original, but damn good nonetheless. Ketty Lester is best known for 1962 hit "Love Letters In The Sand" which shows off her slick voice on a slick L.A production. By the end of the '60's after several unsuccesful records, ketty was one step away from leaving the music business to concentrate on an acting career. Her final single (released 1969, before a brief return to recording in '84) was this killer update of Joe Tex's "Show Me" (aka one of the greatest records ever made). While the musical arrangement is a tad slower but still swingin' (ala Tex' original), Ketty's smooth but soulful vocal adds a groovy, sassy and super sexy edge. I'll leave you with a weird one. The What Four were an all female garage rock group, and are best known for their punky track "I'm Gonna Destroy That Boy". By the time of this '68 release, the young ladies seemingly took a cue from the dramatic and HEAVY soul reworkings as made de rigeur by The Vanilla Fudge. Slowing the tempo down to a crawl and adding some weird time shifts actually WORKS here, and makes for a cool listen and a bizarre study into how music was changing rapidly between the dance oriented years of mid-60's rock n roll into the "rock' of the late 60's which was far more appropriate for stoned musings and free form writhing.
until next time!