Perspective is everything. I first became aware of the song "Dizzy" when it was covered by British comedian Vic Reeves and popular grebo band The Wonder Stuff. I had been a fan of the "Stuffies" as a moody teenager and had been curious about this number one hit that they had seemingly out of nowhere at the end of 1991. It didn't seem to make it over to the other side of the Atlantic so it wouldn't be until around 1994 that I first heard it. Nevertheless, I was hooked. It was a curb stomping powerhouse of a record, the kind of thing could you dance to, pound your fist to, beat the crap out of someone to or just be a miserable sad sack to — and, if it was a particularly eventful day, you could do all of these things to it.
With all this in mind, approaching the original by Tommy Roe is a challenge. Far from the thrill ride racket of Reeves and the Stuffies, this "Dizzy" is laid back and hardly draws attention to itself. It is subtle. Roe sounds like a country singer who's had some good luck in his life for a change. It is only after a few listens that it becomes clear that he sounds dizzy. (The Reeves/Wonder Stuff cover does nothing of the sort, though it can make the listener feel this way — and I say this as someone who genuinely likes it) Roe's wooziness suddenly becomes something you can't not hear. It's as if he woke up from a concussion or a giant bender and was having trouble remembering his name. (Somehow he can still sing the lyrics to a song in this condition)
I appreciate all this about Roe's "Dizzy" but it still sounds like it needs a giant kick up the arse. While the singer communicates his stupor as well as can be expected, the studio musicians backing him let the side down with a puny effort, a child's Tonka truck when a genuine Jeep 4x4 was called for. This is what comes from too much reliance on the Wrecking Crew, a renowned studio band who turned in professional recordings on demand but who could seemingly phone it in when they didn't have a Phil Spector or a Brian Wilson to inspire and/or intimidate them. Being the best in the business (well, it was either them, Motown's Funk Brothers or Booker T. and the MG's out of the Memphis Studio) was all well and good but that didn't mean they were suited to back every solo artist in white American pop. Imagine what a garage rock group could've done with it instead of a bunch of Hollywood overachievers.
In short, Roe's "Dizzy" needs to sound much more like the Reeves/Wonder Stuff "Dizzy". It's likely that few thought so at the time but that's what a cover version that leaves a lasting impression can do. That said, a touch of dizziness wouldn't have hurt this remake either. Surely there's a happy medium and we're certainly due another prominent cover so if anyone's listening and is interested have at it. Or what about a clever mash up of the two? Are mash ups still a thing?
No comments:
Post a Comment