Play it Again: Cover Songs in Popular Music

George Plasketes

• Publisher: Routledge
• Year: 2016
• Print ISBN: 9780754668091
• eBook ISBN: 9781317079866
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Music

Covering"the musical practice of one artist recording or performing another composer's song"has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40, 000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations in dance remixes and mash-ups. Film and television soundtracks and advertisers increasingly rely on versions of familiar pop tunes to assist in marketing their narratives and products. The cover phenomenon in popular culture may be viewed as a postmodern manifestation in music as artists revisit, reinterpret and re-examine a significant cross section of musical styles, periods, genres, individual records, and other artists and their catalogues of works.The cover complex, with its multiple variations, issues, contexts, and re-contextualizations comprises an important and rich popular culture text. These re-recordings represent artifacts which embody artistic, social, cultural, historical, commercial, biographical, and novel meanings. Through homage, allusion, apprenticeship, and parody, among other modes, these diverse musical quotations express, preserve, and distribute popular culture, popular music and their intersecting historical narratives. Play it Again represents the first collection of critical perspectives on the many facets of cover songs in popular music.

UNDER THE COVERS: HISTORY, IDEOLOGY, IDENTITY

Chapter 2
Charting Cultural Change, 1953–57: Song Assimilation Through Cover Recording

B. Lee Cooper

Songs are commodities. They are products of composers/lyricists. They gain life through performance. They attain status through retail chart listing. They achieve broader acclaim through cover recording. Undeniably, repetition of a particular song is a sign of artist interest and audience appreciation. Multiple recordings of the same hit song were a common practice during the first half of the twentieth century. This practice continued at mid-century, but featured a far more diverse group of composers and performers. More importantly, songs of the ‘50s were drawn from previously segregated musical genres. Rhythm ‘n’ blues performers joined country singers in invading “Pop” charts. The cover recording battle that raged throughout the mid-1950s promoted greater national exposure, acculturation, diversity, and legitimacy in American popular music. Billboard and Cash Box, the major music trade journals of the period, provide weekly documentation of song acceptance within the public forum. These two journals also trace the rise and fall of particular recording artists. By the end of the 1950s, a new popular music galaxy was established. Some old stars remained (Dean Martin, Frank Sinatra, Tony Bennett, Bing Crosby, Dinah Shore, and Peggy Lee); many new stars were born (Elvis Presley, Pat Boone, Jackie Wilson, Hank Ballard, The Platters, James Brown, The Drifters, and Bill Haley and His Comets); several old stars disappeared (Georgia Gibbs, Fontane Sisters, Hilltoppers, Guy Mitchell and Teresa Brewer); and numerous new performers flashed brightly and burned out (Boyd Bennett, Otis Williams and His Charms, Maurice Williams, Nervous Norvis, Billy Lee Riley, Larry Williams, and The Five Satins).

This study examines public song assimilation through cover recording. It utilizes two weekly popular music charts—Billboard and Cash Box—to track expanding commercial interest in new music, whether it was performed by traditional stylists or by new artists. The conclusion is that the American musical culture shifted dramatically at mid-century (1953–57) because of the cross-pollination of singing and instrumental styles exhibited in multiple performances of new hit songs.

The Tradition of Cover Recording, 1933-52

For composers, duplication is the sincerest form of flattery. Repetition of their songs, with royalty benefits streaming from multiple record sales, is an unspoken goal among songwriters. The tradition of cover recording emerged early in the twentieth century. Good songs attracted several artists. Why should the first performer be the only one to benefit from a popular lyric or a catchy melody? Immediate covers were designed to capture the initial moment of audience awareness. Obviously, the financial pie of total public purchases was divided into smaller pieces when two or more renditions of a single tune reached the market during the same year. The original artist understandably griped. So did the record company producing the first release. But the composer couldn’t conceal glee at the prospect of increased visibility and broadened sales. With numerous versions of the same song being played on pianos, victrolas, juke boxes, and in live performances by multiple artists, the songwriter’s ultimate dream of producing a life-time “standard” was within reach.

The test of particular songs attaining long-range impact is not the immediate cover, but the future cover. From 1933 to 1952 only a handful of the thousands of songs recorded during those two decades received both immediate and future covers. Clearly, novelty songs like “Mairzy Doats” (1944) and “Open the Door, Richard” (1947) spawned many renditions in their single year of popularity. But never again. Similarly, classic World War II tunes like “Miss You” (1942) and “(There’ll Be Bluebirds Over) the White Cliffs of Dover” (1942) charted in multiple versions, but not beyond their initial year of appearance. On the other hand, some recordings demonstrated renewable popularity. The most dominant song in this category is “White Christmas.” This American standard was initially charted by four different performers in 1942 (Bing Crosby, Charlie Spivak, Gordon Jenkins, and Freddy Martin). The Crosby version returned to popular acclaim from 1944–45, 1947–50, 1952, and beyond. Other versions of “White Christmas” were released by Frank Sinatra (1944), Jo Stafford (1946), Eddy Howard (1947), Perry Como (1947), and Mantovani (1952). Irving Berlin’s holiday classic is the poster boy illustration for both immediate and future cover recording. Table 2.1 features an alphabetical listing of songs that were hits with more than one version being released initially and then were popularized again through the rebirth of at least one new charted rendition. Data for this chart was drawn from the following sources: (Jacobs and Jacobs, 1994; Lax and Smith, 1989; Whitburn, 2002, 1986).

The practice of cover recording can be viewed as aesthetic robbery. An original artist may lose sales revenue because a second or a third performer elects to release the same song during the same period. As noted earlier, composers reap financial benefits regardless of who records their songs. For this reason, songwriters often shop their tunes to record companies even after an initial recording has been released. Why not? What is seldom recognized and rarely discussed are the unintended consequences of cover recording. Finances aside, an ever-increasing portion of the American listening public can be exposed to a single tune through multiple releases. While arrangements and singing styles may vary, the song itself gains greater currency in the popular hit treasury. The two decades prior to the emergence of doo-wop, rockabilly, and rock ‘n’ roll illustrate the rich realm of cover recording. From 1933 to 1952 hundreds of songs were covered. Some tunes were borrowed from country music (“Cold, Cold Heart” and “Jambalaya”); some poked fun at other pop hits (“Baby, It’s Cold Outside” by Homer and Jethro and “Temptation (Tim-Tayshun)” by Red Ingle and the Natural Seven); and some sought to introduce special jazz rhythms or rich orchestral arrangements to relatively simple pop tunes. The result of hybrid or highbrow covers was a growing diversity within American popular music. Slowly but surely, the record listening public moved from traditional pop toward a much richer musical stream of more diverse sounds. There was greater acceptance of ethnic diversity, more adaptation of country and R & B rhythms, enhanced accommodation for varied vocal styles, and broadened acculturation in regard to both humor and topical lyrics. The chronological list of songs provided in Table 2.2 were covered immediately during the 1933–52 period and established the base of behavior for the transition years of 1953–57. Data for this chart was drawn from the following sources: (Lax and Smith, 1989; Whitburn, 1986).

Cover Recording as Acculturation, 1953–57

Vitality and diversity in recorded music following the Second World War was sparked by artists like Mahalia Jackson, Roy Brown, Bing Crosby, Johnny Ray, Louis Jordan, Patti Page, Duke Ellington, Hank Williams, and Billie Holiday. Celebrity recognition, however, did not always translate into pop chart success for many country, gospel, jazz and R & B artists. While inroads occurred during 1933–52, the top of the musical integration mountain wasn’t reached until mid-century. What changed? Briefly, numerous independent record companies emerged; new songs and new singers moved from regional to nationwide promotion; key markets were penetrated by enhanced radio airplay and increased television exposure; and performing venues broadened dramatically.

Cover recordings of 1953 through 1957 demonstrated continuity of practice, but change in public acceptance. As always, listeners were exposed to new songs by original performers and traditional cover artists. Yet during these crucial five years, emerging stars of doo-wop, rockabilly, rhythm and blues, and rock and roll frequently achieved pop chart recognition either parallel to or superior to established performers. This transition is often described as a musical revolution. It wasn’t. Youthful record buyers were attracted to Elvis Presley, Gene Vincent, Little Richard, Frankie Lymon, Eddie Cochran, and Carl Perkins. Adults purchased releases by Pat Boone, The Diamonds, Connie Francis, The Crew-Cuts, and The Hilltoppers. Songs changed, too. But once again, it was the composers who rejoiced as rampant cover recording continued.

Billboard and Cash Box tell the tale. Between 1953 and 1957 the chart presence of country-rooted performers (Patsy Cline, Johnny Cash, Marty Robbins, Wanda Jackson, Brenda Lee, Carl Perkins, and Elvis Presley) and R & B artists (Hank Ballard, James Brown, Ruth Brown, Ivory Joe Hunter, Joe Turner, LaVern Baker, and Etta James) increased dramatically. Greater song exposure promoted adaptation, accommodation, and (ultimately) assimilation. Ignore the motives behind cover recording. Assess the results. Billboard and Cash Box illustrate the monumental pronoun shift from deriding their songs to celebrating our songs. Cover recordings functioned as a catalyst for a massive transition in popular musical taste. Lesser-known artists like Ronnie Hawkins functioned below the chart-keeping radar to spread the acceptance of new tunes written by Chuck Berry, Larry Williams, Bo Diddley, and Jerry Leiber/Mike Stoller. Meanwhile new celebrities such as Rick Nelson (television) and The Everly Brothers (radio) launched recording careers from high profile backgrounds.

Evidence demonstrating how crossover song acceptance was achieved through audience acceptance of multiple renditions is provided in Table 2.3. Data for this chart was drawn from the following sources: (Downey, Albert, Hoffman, 1994); Lax and Smith, 1989; Lonergan, 2005; Pavlow, 2001; Whitburn, 1992; 2002; 2003).

Continuing Cover Recording, 1958 to The Beatles

After 1957 the American recording industry faced a popular music audience that had accepted new songs and new artists as the norm rather than the exception. “Blue Suede Shoes” fit both Carl Perkins and Elvis Presley. “Rip It Up” was acceptable by either Little Richard or Bill Haley and His Comets. “Two Hearts” could be sung by The Charms or Pat Boone. And “Tweedle Dee” was a reasonable tune by either LaVern Baker or Georgia Gibbs. Cover recording remained a staple – especially for the breakthrough artists of 1953–57. Fats Domino revived “Coquette,” “When the Saints Go Marching In,” “Margie,” “Put Your Arms Around Me Honey,” “Ain’t That Just Like a Woman,” “Jambalaya (On the Bayou),” “You Win Again,” “Did You Ever See a Dream Walking,” and “Red Sails in the Sunset” between 1958 and 1963. During the same six-year period Pat Boone re-issued “It’s Too Soon to Know,” “Cherie, I Love You,” “That’s How Much I Love You,” “With the Wind and the Rain in Your Hair,” “Good Rockin’ Tonight,” “Beyond the Sunset,” “Walking the Floor Over You,” Dear John,” and “I’ll See You in My Dreams.” Not to be outdone in the realm of cover recording that he had dominated from 1954 through 1957, Elvis Presley provided new renditions of the following songs between 1958 and 1963: “One Night,” “(Now and Then There’s) A Fool Such as I,” “Are You Lonesome To-Night?,” “I Feel So Bad,” and “Witchcraft.”

Beyond Chuck Berry, the initial and best singer-songwriter of the early rock era, vocalists continued to rely upon previously charted songs to meld with new numbers over lengthy (5–8 years) record charting careers. Obviously, touring and performing in club venues often continued well beyond Billboard and Cash Box chart recognition days. (This situation may be difficult to imagine in light of the post-1960 success of self-contained composers and vocalists like Bob Dylan, Smokey Robinson, Billy Joel, Lennon and McCartney, Elton John, Jagger and Richards, Carole King, Paul Simon, and hundreds of others.) It is especially interesting to note the large number of new hit songs from the 1953–57 transition period that were revived within the following six years. Among these new standards are “Ain’t That a Shame” (Four Seasons, 1963), “At My Front Door” (Dee Clark, 1960), “Earth Angel” (Johnny Tillotson, 1960), “Gee” (Pixies Three, 1964), “Hearts of Stone” (Bill Black’s Combo, 1961), “I Hear You Knocking” (Fats Domino, 1961), “I’ll Be Home” (Platters, 1966), “Ko Ko Mo (I Love You So)” (Flamingos, 1961), “Ling, Ting, Tong” (Buddy Knox, 1961), “Lovey Dovey” (Buddy Knox, 1960), “Only You” (Franck Pourcel’s French Fiddles, 1959), “Only You” (Mr. Acker Bilk, 1963), “Pledging My Love” (Roy Hamilton, 1958), “Pledging My Love” (Johnny Tillotson, 1960), “Seventeen” (Frankie Ford, 1961), “Skokiaan” (Bill Haley and His Comets, 1960), and “Teach Me Tonight” (George Maharis, 1962).

It is even more fascinating to recognize that many, many pre-1953 hit songs became chart material for new pop performers during the 1958–63 period. Once again, cover recording provided established tunes that could be stylistically adapted by contemporary artists. As noted earlier, Fats Domino, Pat Boone, and Elvis Presley frequently borrowed old tunes from the ‘20s, ‘30s, and ‘40s. Other new performers revived standard songs as well: “Baby Face” (Little Richard, 1958), “Baby Face” (Bobby Darin, ...

Table of contents

• Cover Page
• Dedication
• Title Page
• Copyright Page
• Contents
• Notes on Contributors
• General Editor’s Preface
• Acknowledgments
• Introduction: Like A Version
• FRONT COVER: TREATISE
• UNDER THE COVERS: HISTORY, IDEOLOGY, IDENTITY
• THE SONG REMAINS THE SAME? SONG AND ALBUM
• LOOK WHAT THEY’VE DONE TO MY SONG: GENDER, IDENTITY, MEDIA MAKEOVERS
• DON’T FORGET TO DANCE: TECHNIQUE AND TECHNO TRANSFORMATIONS
• CONTEMPLATING COVERS
• BACK COVER: EPILOGUE
• Bibliography
• Index