Cover Versions of #1s… Indie Rock Edition

In 2007, to celebrate their fortieth anniversary, BBC Radio 1 released an album of cover versions, featuring the big pop and rock acts of the day.

(For anyone not of a British persuasion, Radio 1 is the youth-oriented national radio station, which plays all the pop, rock, dance, and hip-hop hits of the day, as well as the Top 40 on a Friday afternoon. Radio 2 is for the middle-agers. Radio 3 plays classical and jazz. Radio 4 is news, documentaries, plays, and so on. And Radio 5 is for sports. They’re the five main ones that I grew up with. There are others, especially now in the digital age. Here ends today’s lesson on British radio stations.)

Anyway, the remit for the album was to include one song from every year that Radio 1 had been broadcasting, covered in a modern style. Interestingly for us, this coincides (almost) with the very point we are at in our countdown, and so we can feature some of the big indie rock groups of the day that we aren’t going to meet at #1. I’ve complained a bit that the mid-00s indie rock revival – Arctic Monkeys aside – hasn’t been represented on top of the charts. There are a few more indie number ones to come in 2006 and 2007, but not by these acts below.

Here then, are three old number ones, covered by hip new beat groups for Radio 1’s ruby anniversary. Well, hip and new sometime around 2007, anyway…

Kasabian – ‘Too Much Too Young’

One of the very biggest groups to come out of the 2000s, Kasabian are still going strong. All but one of their albums have made #1 in the UK, while on the singles chart their biggest hit was 2009’s #3 ‘Fire’. For this album they covered the Special’s 1980 punky, spiky, two-tone ‘Too Much Too Young’. And they did it in a very faithful, punky, two-tone style. It’s fine. I just wish they made it sound more Kasabian, as they were one of the more unpredictable-sounding of the landfill-indie era, especially their trippy, space-rock inspired debut album.

Gossip – ‘Careless Whisper’

In the mid-’00s I was a big reader of the NME. And for a year or so, between 2006 and 2007, it felt like the Gossip and their front woman Beth Ditto graced the magazine’s cover on a weekly basis. Like so many before them, they never quite lived up to their ‘next big thing’ tag, but their one Top 10 hit – the clattering, protest anthem ‘Standing in the Way of Control’ – is a certified classic of the time. Their take on George Michael’s eighties smoocher is cut from the same dance-punk cloth. Unlike the Kasabian cover above, it does do something new with the source material, and it’s quite nice to hear an over-played tune (that I’m not overly fond of) sound so different.

The Kooks – ‘All That She Wants’

Ah, the Kooks. The poster boys for ‘landfill indie’? Or one of the mid-00s more enduring acts? They’re still together, still touring and making music, and their signature song ‘Naive’ seems to have gained popularity with the TikTok generation. I did buy, and enjoy, their debut album ‘Inside In/Inside Out’ – especially the bouncy ‘You Don’t Love Me’. But there was always the whiff of art school (they formed at the BRIT school) poseurs about them, and lead singer Luke Pritchard always gave the impression that he thought he was Pete Doherty, minus the heroin.

But their cover of Ace of Base’s 1993 #1, ‘All That She Wants’, is serviceable enough, translating the original’s reggae lilt into a very 2006 indie riff. Of the three I like Gossip’s cover the best, but this is a decent second.

I hope you enjoyed these three covers. This ‘Radio One Est. 1967’ album is good for at least three more chart-topping covers, so I’ll return to it in the new year.

537. ‘Careless Whisper’, by George Michael

We’ve had a famous chart-topper earlier this year that was obsessed with sex. Here, we have a number one that is all about sax.

Careless Whisper, by George Michael (his 1st of seven solo #1s)

3 weeks, from 12th August – 2nd September 1984

Can I just admit right now that ‘Careless Whisper’ has always left me feeling a little… icky? It’s the epitome of mid-eighties slickness: glossy, shimmering, and very heavy on the saxophone. But it’s an important record. Not only is it the first solo #1 for one of Britain’s biggest ever stars, but it set the template for boyband members looking to break away from their group, from Robbie Williams to Harry Styles.

I didn’t appreciate how early George Michael’s solo career began – just a few weeks ago Wham! were scoring their own first #1 – or how confidently he launched into it. This does not sound like the early fumblings of a boyband star going solo; this is a supremely well-made pop ballad. And, amazingly, he wasn’t even twenty when he and Andrew Ridgeley wrote it… His maturity and attention to detail can be found in the fact that he went through nine saxophonists before finding one who could play the famous riff to his liking.

I will not deny how well made this record is. And there are bits I can appreciate. The sax, for a start. This has to be the most famous use of the instrument on a pop single, alongside ‘Baker Street’, and the solo from ‘True’. And the chorus is timeless: I’m never gonna dance again, Guilty feet have got no rhythm… Both this and Wham’s earlier #1 have centred around dancing: on missing out on it, and now on being unable to do it through guilt…

Towards the end, as George is belting out that we could have been so good together… there is a real confidence on show. It’s a song that takes its time, that fills its five-minute runtime at a stately pace. It’s also an interesting lyric: Time can never mend, The careless whispers of a good friend… It’s a classic of late-night ‘love song’ hours on commercial radio, but it’s clearly a break up song… Now who’s gonna dance with me…? Is it also possible, knowing now what we do, that it’s about George hurting a girl thanks to him being gay…?

The video is everything you want from a mid-eighties ballad: soft-focus, gorgeous hair, pointless but moody ropes hanging from the ceiling, sexy yachts, a Princess Diana lookalike love-interest… But the fact that this record is so precisely of its time is what ultimately hurts it in my eyes. Give me the fun, retro stylings of ‘Wake Me Up Before You Go-Go’ over this.

I mentioned that this was the launch of George Michael’s solo career, when in actual fact it’s something of a false start. His next solo record will not be for another couple of years, when Wham! were indeed coming to an end. In fact, in the US ‘Careless Whisper’ reached #1 as a Wham! single. George Michael clearly wasn’t yet enough of a name to carry a record over there. That would change though, and quickly.

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