The other day Metal Sucks introduced me to Firewind’s cover of Michael Sembello’s “Maniac.” That in turn took me to iTunes to search for other covers and yielded the interesting remake of “Super Freak” by Ricky Skaggs and Bruce Hornsby. As much as I loathe most of the covers that were made in the ’80s, I love when someone does a good cover of an ‘80s tune. And I’m not talking about someone adding a club beat behind a track and calling it a remake; it seems like almost every really popular song was remade into a dance track by some DJ within the past decade. I’m talking about cool covers with some different sounds or ideas incorporated into the original sound; since I like the Firewind track, a good example would be power-metal covers of pop tunes. (One of these days Manowar is going to cover “Who’s Johnny?” and I’m going to be all over it.) So, help me out and let me know some of your favorite covers of ‘80s tunes so I can make a mix of my own.

NEW MUSIC FOR THE COLLECTION:
Big Big Sun, Stop the World
David Drew, Safety Love
Nitzer Ebb, That Total Age
Nik Kershaw, Human Racing
Dave Edmunds, Riff Raff

We continue on with our look at the bottom 60 percent of the Billboard Hot 100 chart in the ‘80s with more “C” artists.

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This story I’m telling, it starts in the middle. But this is a story that loops and circles in on itself, like a cloverleaf roadway; you’ve got to start where you are, and go forward to the beginning.

Imagine you’re Steve Winwood. As the Sixties turn into the Seventies, you’ve already made your bones with the Spencer Davis Group, formed Traffic and broken it up (twice), and headlined the supergroups Blind Faith and Ginger Baker’s Air Force. Now you’re in the studio, laying down tracks for what is supposed to be your first solo album.

And you are twenty-two years old.

Faced with a head-on plunge into rock superstardom and its pressures, and with the druggy chaos of Blind Faith still a fresh memory, perhaps it’s not surprising that you shy away. You retreat back to old collaborations, and even older musics — absorbing the sounds of English folksong and ’50s cool jazz. Moving forward, you loop back to where you started; Steve Winwood’s solo career goes on hold, and Traffic is reborn once more.

You know what? Let’s skip ahead to the beginning.

Origins and Early Singles

It was American producer Jimmy Miller who brought the members of Traffic together — and who defined the sound to which they would hew even after his departure — in sessions for Winwood’s first band, the Spencer Davis Group. Miller remixed the SDG’s “Gimme Some Loving” for American radio, bringing in journeyman musicians Jim Capaldi, Chris Wood, and Dave Mason (who had been the SDG’s road manager) to add percussion and vocal overdubs. The remix cracked the US Billboard top ten, and Miller took the three into the studio with the Davis Group to record the follow-up, “I’m A Man” (download). The elements of Traffic’s sound are all in place; predominant keyboards, gang vocals, and kitchen-sink percussion bubbling through a deep, layered stereo mix.

Leaving Davis in 1967, at nineteen, Winwood threw his lot in with Capaldi, Wood, and Mason — turning the winning sound of late-period Spencer Davis Group towards more psychedelic rock-oriented material. Three lead singers, four songwriters, all proficient in multiple instruments — with an embarrassment of riches, the new group, dubbed Traffic, began a period of intense collaboration, decamping from London to an isolated cottage in Berkshire where they would live, write, and play together. (more…)