Tags
Bellamy Brothers, Jeffrey Foskett, Johnny Logan, Kevin Johnston and the Linemen, Kjetil Linnes, Marshall Crenshaw, Matthew Sweet, Rachel Kiel, Ronnie Spector, Susanna Hoffs, The Drowners, You're My Favorite Waste of Time
What started out as a home demo B-side has gone on to become one of Marshall Crenshaw’s most enduring and widely covered songs! Crenshaw recalls that “You’re My Favorite Waste of Time” was written while he was still employed playing John Lennon in the off Broadway production of Beatlemania, and that it was one of his very first forays into songwriting. Marshall’s version of the song – still the definitive treatment IMHO – has him playing all the parts in his New York City apartment home studio in 1979, despite being credited on the 45 to the ‘Handsome, Ruthless and Stupid Band’ when released as the B-side to “Someday Someway” in 1982. Cover versions have emerged at regular intervals since then. What draws people to the tune? No doubt it’s Crenshaw’s unmistakable, unforgettable vocal hook in the chorus that gives the song its classic and timeless poprock sound.
Marshall Crenshaw
Marshall’s original version of the song has a curious tempo and an eerie vocal harmony. It’s sounds just a little out of kilter, with distinctive keyboard notes, and a lovely stumbling finish. Why he didn’t elect to produce a polished professional studio version is unclear. Still, the demo version is charming. The song’s covers have ranged all over the style map, from country to dance club to rock and roll. But not every version is a winner, from my poprock-biased point of view. Bette Midler’s slick, poppy early 1983 cover no doubt gave the song it’s major exposure to American audiences, while Owen Paul’s more dance-pop take made the UK top ten in 1986. But neither version really grabs me. By contrast, the Bellamy Brothers’ version from their 1985 LP Howard and David has real heart. So I’m gonna be choosy here, featuring only the covers I think honour the spirit of Crenshaw’s vision for the song.
The Bellamy Brothers
Crenshaw’s musical oeuvre stands at the crossroads of rock and roll’s country and rhythm and blues roots. Not surprisingly then, the covers that work best draw from these traditions too. Kevin Johnson and the Linemen really nail the song on their 1991 debut album, Memphis for Breakfast, with an alt country-fied rock and roll sound. They almost sound like Crenshaw himself! Then the covers really start coming in the new millennium. Crenshaw himself played on Ronnie Spector’s 2003 cover of the song from her EP of his tunes, Something’s Gonna Happen, so it rocks, not surprisingly. Jeffrey Foskett is well known for his work with Brian Wilson and the Beach Boys, particularly on vocal support. Predictably, he makes the most of the vocal machinations embedded in the song, especially in the chorus. A poprock superstar version came out in 2013 from Matthew Sweet and Susanna Hoffs, a bonus track addition to volume 3 of their Under the Covers series. And the song has also gone international with Irish, Swedish and Norwegian bands taking it on, from Johnny Logan, The Drowners and Kjetil Linnes respectively, producing great straight-up, poppy, rock and roll renditions. The most recent cover I could find can be found on Rachel Kiel’s super 2017 release, Shot From a Cannon.
Kevin Johnston and the LinemenRonnie SpectorMatthew Sweet and Susanna HoffsJohnny LoganThe Drowners
Who should have covered this song? The Everly Brothers, that who. But barring that now irreparable oversight, there’s room for more time-wasting song-wise. Click on the links above to get to know these cover artists other material, and don’t forget to give Marshall lots of love too!
Bold new visions are all that make the cut on today’s dial twisting installment. Each of our featured acts puts a unique spin on the poprock genre.
Orville Peck comes on like the bastard love child of Elvis Presley and Morrisey. His voice has the spine chilling warmth of the King on tracks like “Nothing Fades Like the Light.” But his phrasing on cuts like “Winds of Change” and “Dead of Night” are so the Mopester. It would be easy to shrug off Peck’s killer debut album, Pony, as just another bit of kitsch or retro country a la early K.D. Lang or K.C. Musgraves (prior to her most recent release). Obviously songs like “Roses Are Falling” and “Take You Back (The Iron Hoof Cattle Call)” encourage such a response. But Pony is so much more. Despite the obvious fun Peck is having there is deep sincerity to the performances too. Peck isn’t just kidding. When he hits the ‘alright’ part of the vocal in “Turn To Hate” something happens that’s hard to explain. You hear the mastery, the control, the hurt. The song could easily have had a pumping Pet Shop Boys synth backdrop but Peck has crafted a distinctive bit of musical synthesis, drawing from retro rock and roll, country and a gay club esthetic. This guy is something big waiting to explode.
London’s Scandinavia wrap an acerbic critique of empty consumerism and widespread inequality in a delicious melodic coating throughout their latest long player, Premium Economy. At first I thought the title was a jokey, ridiculous play on how the corporate world increasingly sells status inequality to different gradations of the striving middle class. Actually, it’s a real thing, offered up by SAS airlines! Satire is getting harder and harder but Scandinavia still give it a go. Empty-headed contrarians take a beating on “I Don’t Believe in Anything,” corporate interests disguised as a ‘love of science’ are exposed on “Choose Science,” and American imperialism is rightly condemned on “Pax Americana.” But hey, at the end of day the record stands or falls on the quality of the tunes. And here I can attest that they are pretty amazing. “Melody Glade” is a stroll through a lush grove of jangle. “Ghetto Blaster” exudes a blast of sunshine, particularly with its harmony-drenched chorus. And “I Own An Island” manages to skewer the depths of wealthy over-consumption while wooing us with killer hooks in the chorus. And don’t miss the back catalogue for more of the high quality same.
It’s a fairly predictable hipster transition to see former punkers mellowing into the roots music scene in old age. But Nic McNamara has gone the other way. After two respectable neo-folkie albums with his band Black Bears Fire he’s back with a more muscular, punky rock and roll sound with new band Summer Colds on their debut album, Here Comes Nothing. The result is a fascinating synthesis of country harmonies with a poppy American punk sound. This is particularly apparent on opening tracks “Low” and “Found,” both featuring vocals that remind of such alt-folk luminaries as You Won’t and Good Old War. When we get to the single “Whiteout” the comparisons to Weezer start to make sense with its grind of buzzing guitars and smooth hooky vocals. Special mention: check out the great western country harmony lurking under the rock veneer on “Killing Flies.”
Dallas must be some kind of music town – so many cool bands! And here’s another one: 
Fans of Everly Brothers-style singing talk about blood harmony or, put more scientifically, the impact of genetics on musical compatibility. But husband and wife duos also often connect musically with a chemistry that is characteristically different than more platonic pairings. Today’s blog post promotes the benefits of musical matrimony with three stellar case studies.
Nashville’s *repeat repeat was a recent accidental iTunes front page discovery. With a Weezer-esque sense of style and design, I just had to click on the stylish organge-drenched album cover to hear what was inside – and what a treat I found! On Glazed, *repeat repeat come on like a more dance-able, clubby Fountains of Wayne, with a guitar-oriented poprock anchored by the band’s distinctive use of synthesizer. The vocals on this album also function like a finely tuned instrument, adding an extra depth to the subtle melodies. “Hi, I’m Waiting” eases you in with its slow roll out and earwormy synth shots before punching things up in the chorus. “Pressure” has a club dance groove drive given a rock and roll combo treatment and some hooky vocal ‘oh’s’ for good measure. “Fortunate One” is the hit single for me: understated but builds its melodic architecture piece by piece until you can’t resist hitting replay. “I’ll be the One You’re Going Old With” has a sweet sentiment and clips along with a chirpy feel good sound. “City of Stars” vibes “Stacey’s Mom” but geared down to a more dreamy tempo. “TTB” has flashes of early Paul Simon vocally but punks up as it goes along. And so on. This is a great album buy. Don’t miss their catalogue highlights either: both “Everybody’s Falling in Love” and “Girlfriend” from 2017’s Floral Canyon are both winners!Fortunate One
We’ve featured a lot of songs from American-Franco duo Freedom Fry. There is something so distinctive about their blend of almost whispered harmony and folksy charm. But it’s the tunes that ultimately carry them through, whether their own original material or a load of inspired covers. 2018’s Classic really was. So many great songs on an expertly executed album. Since them the duo have peppered us with series of expanded singles that take up new textures and unpredictable cover material. Like “Renegade – only Freedom Fry could strip out all the bombast of the Styx original, leaving the song’s uneasy essence remaining. “Black Mountain” gives the duo a chance to show off their formidable vocal layering techniques. “Hey Moon” has a lovely, lilting lullaby-like texture. “Yeah You” picks up the tempo and charges up the hooks. Then “The Sun is Going to Shine on You” shows how the band can work up a tougher yet still melodic sound. Freedom Fry brim with creativity and surprises!
The Weepies ooze gentle sweetness with their carefully crafted harmonies and delicate arrangements. There is always something wistful about their performances: often quiet and filled with longing. “All That I Want” from their 2004 debut Happiness really captures the basic formula, which is further solidified with tracks like “Gotta Have You” 2005’s Say I Am You. From the same record check out the Simon and Garfunkel-worthy, shiver-inducing harmony on “World Spins Madly On” or the winsome “Nobody Knows Me All.” Then 2008’s Hideaway was a masterpiece, upping the poprock polish without relinquishing the folksy intimacy. The whole album is songwriting gold, from the engaging title track, to the entrancing “Little Bird,” to the single-worthy “Antarctica,” and so on. 2010’s Be My Thrill changed things up a bit, shifting things uptempo on tracks like “Hope Tomorrow” while 2015’s Sirens even introduced inspired covers like Tom Petty’s “Learning to Fly.” Health problems and parenting appear to have slowed The Weepies early productivity but their website reports a new tour for Autumn 2019. Perhaps a new record won’t be far behind.
Poprock Record 