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BEST COVERS OF THE '90s

Rodger and Hart's "The Lady is a Tramp" (1945)
They Might Be Giants

The Beach Boys' "Little Honda" (1964)
Yo La Tengo

The Rolling Stones' "Satisfaction" (1965)
Cat Power

Donovan's "Season of the Witch" (1966)
Luna

Burt Bacharach's "Don't Go Breaking My Heart" (1966)
The Wondermints

Simon and Garfunkel's "Mrs. Robinson" (1968)
The Lemonheads

Three Dog Nights' "One" (1968)
Aimee Mann

Sly and the Family Stone's "Everyday People" (1968)
Arrested Development

The Stooges' "I Wanna Be Your Dog" (1969)
Alejandro Escovedo

Can's "Mother Sky" (1970)
Th' Faith Healers

The Carpenters' "Superstar" (1971)
Sonic Youth

Roberta Flack's "Killing Me Softly" (1973)
The Fugees

KC and the Sunshine Band's "Get Down Tonight" (1974)
Stereo Total

Fleetwood Mac's "Landslide" (1975)
Smashing Pumpkins

KISS's "Shock Me" (1977)
Red House Painters

Wire's "Map Ref 41°N 93°W" (1979)
My Bloody Valentine

The Long Island Regional Poison Control Council's "Dangerous" (1983)
Busta Rhymes

U2's "I Still Haven't Found What I'm Looking For" (1987)
Negativland

The La's "There She Goes" (1988)
The Boo Radleys

Angelo Badalamenti and David Lynch's "Falling" (1989)
The Wedding Present

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Flak record KISS's "Shock Me,"
performed by Red House Painters

Few can take a KISS anthem and turn it into a touching love song.

But that's exactly what Mark Kozelek and Red House Painters did on the Shock Me EP, on which the band renders not one, but two gorgeous versions of the hard-rock classic from the original Men in Black.

On the first, there's still a bit of the KISS edge from the song's rockin' 1977 original from Love Gun. A snarling electric joins Kozelek's acoustic on the song's main riff. But for the most part, the song is typical of the post-VU sound that RHP and Kozelek— along with American Music Club and that band's singer Mark Eitzel — used to establish San Francisco's early-to-mid '90s "sadcore" sound. Brushed snare, marching-band tempos and acoustic guitar, all rolled up in Kozelek's warm voice.

But what really makes the song is not its adherence to the band's blueprint, it's the wonders it works with lyrics like these:

Shock me, make me feel better, oh yeah
Come on and shock me, put on your black leather
Baby, I'm down to the bare wire
Shock me, we can come together
Oh yeah, I wanna feel your power
Shock me, make me feel better
Baby, I'm down to the bare wire
Shock me, put on your black leather
Baby, come on, come on, shock me

The second, even more beautiful take on "Shock Me" comes at the end of the piece, where the edgy guitar of the other RHP version gives way to a piano. The drums are gone and the band essentially lets Kozelek's voice, acoustic guitar and piano render the song even more beautiful than the first version.

The Shock Me EP was later tacked onto the group's second self-titled album, which also features a Simon and Garfunkel cover ("I am a Rock"), as well as "The Star Spangled Banner." But RHP's knack for cover tunes didn't end there. The band's take on The Cars' "All Mixed Up" appeared in a GAP commercial (the ultimate measure of success) four years after it showed up on Songs for a Blue Guitar. And the covers of Yes' "Long Distance Runaround" and Paul McCartney's "Silly Love Songs" from that same album are hilarious and not to be missed.

Eric Wittmershaus (ericw at flakmag dot com)

ALSO BY …

Also by Eric Wittmershaus:
Riding the MTA's Love Train
Nuzzling Up Against the Cold Hand of Science
A Modest Proposal
Best Music of 2002
Best Music of 2001
Baby Bird | The Original Lo-Fi
The Mountain Goats | All Hail West Texas
Memento
Dungeons & Dragons
USA Flag Remote Control
Cover letter accompanying The Wondermints' Mind if We Make Love to You
A bottle of wine I got free from work
More by Eric Wittmershaus

 
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