Vote for your favourite cover version and tell us a bit about why you made your selection. (The selections are listed in release order.)
Good point. Had Sergio's been an instrumental, I would find it more palatable.Sergio's version is more aligned towards jazz than it appears to be at first glance. Many times with jazz arrangements, the lyrics are secondary to the melody and the chord changes, and Sergio's electric piano solo kind of takes off on that theme. Remember, too, Sergio's roots were more in jazz back in his earlier days, so doing this type of arrangement would be second nature to him.
It's amazing what you can learn from this forum. I never knew that this song was adapted by Paul SImon from an old English ballad. Thanks for the info.This was a hard one...well, sort of...so, it was down to a process of elimination
Sergio — I never warmed up his taking a serious song and re-tooling it into a shuck ’n jive dance number. The one-chord vamp solo is boring and the arrangement calls for repeating one lyric stanza ad infinitum. (Really? Like you gotta be kidding me? I'm sure Simon wasn't impressed.)
Wes — If you’re gonna vamp it out, at least do it like this; but Wes never resolved it so Creed faded it (because it was a jam, I suppose...).
Alan Copeland— The most imaginative arrangement, but I can’t tolerate those toothpaste commercial singers where the lowest males voice sounds like a high school tenor. Blech.
Desmond -- Hard to beat. That’s Herbie Hancock soloing on electric piano — again on a vamp — but there a voicing modes and rhythmic interplay that make this one the best in that vein.
Soul Flutes — Herbie Mann’s reading is good and of the instrumental versions it best captures the English ballad aspect of the traditional song. (It should be known that Simon did not write this song; both lyric and melody are a traditional English folk ballad.)
Claudine — Along side Ron Elliot’s guitars, Claudine gives this the best English ballad feel that I prefer for this piece. She nails it.
If you're amazed at that fact, how about Paul Simon's whole usage of Los Incas "El Condor Pasa" behind the Simon & Garfunkel vocals.It's amazing what you can learn from this forum. I never knew that this song was adapted by Paul SImon from an old English ballad. Thanks for the info.
From what I understand by looking at the fine print credits on the S&G recording, Los Incas was credited with the backing track, and I understand that Paul Simon invited them up to the recording studio to make the record. I'm guessing that the "magic" of the original recording was better than what Los Incas was able to try to recreate, and S&G used their original recording. The credits have always been on the up & up, as far as I can tell from my multiple versions.Harry--Very interesting. I wonder how the copyright and royalties situation works out for both Simon & Garfunkel recordings?
Here's the story. (So if you're counting, During 1966, Simon caused feeling of animosity with both UK guitarist, Martin Carthy, and Bruce Woodley of The Seekers regarding songwriting credits.)It's amazing what you can learn from this forum. I never knew that this song was adapted by Paul SImon from an old English ballad. Thanks for the info.