Who Did It Better? Girls Talk

Who Did It Better? 

Girls Talk

Today's Who Did It Better? illustrates perfectly just how prickly songwriters can become when other artists cover (and have greater success with) one of their songs. Sometimes their ire is warranted, especially when the spirit and vision of the song is not honored, but all too often it's nothing more than a case of envy or an attempt to feel superior.

Girls Talk is a song written by Elvis Costello.

In, what Costello describes as "a moment of drunken bravado," he offered the song to legendary guitarist, Dave Edmunds, who, thanks to association with Nick Lowe, had been experiencing a bit of a renaissance.

As Edmunds tells it: 

"Elvis came to the studio one day, and he said, 'I've got a song for you.'

"He picked up an acoustic guitar, and played and sang the song into a cassette recorder, and then gave me the cassette, with a view to me recording the song. It was his idea for me to record it."

 "And he gave me a cassette. Now, it wasn't very good - it was just him on a guitar, and he was rushing through it at a furious pace. At first I couldn't see it. I really liked the complete new arrangement and feel that I put to it. I'm not sure Elvis liked it, mind you. He's quite an intense person and he's quick to point out things that he doesn't like." 

"And also there were some lines needed, because the verses weren’t symmetrical. He had a verse with four lines in and then a verse with three lines in, so Nick (Lowe) and I made up some lyrics and popped them in."

"Nick and I added the line ‘More or less situation...’ because Costello’s version was a line short. I pointed this out to him, but he gruffly replied 'that ‘that's the way I wrote it.' He’s made it quite plain that he doesn’t like my version, which I find inconceivable."

"Then I threw the whole thing right down, got a groove going on it, and put the record together with some acoustic guitar punctuation like Don Everly used to do on the Everly Brothers’ early records. The record came together and I was quite proud of that."

"I remember playing it to him (Costello) on the tour bus in America, and he didn’t say much. It sounded great to me, and it got him a Top 5 record, so I’m sure he’s not that upset about it, but I would have been delighted if someone had done a turnaround on a song I’d quickly jotted out and came up with a hit single!"

The reworked song was placed as the lead track on Edmund's 1980 Repeat When Necessary album. Released as a single, it peaked at #4 on the UK Singles Chart, #12 in Ireland, and #65 in the US.

Costello, clearly unsatisfied with Edmund's version, would release his own version in 1980 on his Columbia Records compilation album, Taking Liberties, with his original lyric - complete with unbalanced verses. It would serve as the B-side to his single, I Can't Stand Up For Falling Down (#4 in the UK, #14 in Ireland) and became a regular fixture on his set lists for tours for quite some time. 

 

Linda Ronstadt was at a bit of a crossroads in 1980. She really wanted to record a collection of standards with Nelson Riddle and record an album of traditional Spanish music. However, given the lackluster response to her last release, 1978's Living In The U.S.A, the powers that be at her label, Asylum, had something different in mind; they wanted her to update her sound and join the New Wave. 

Ronstadt was initially uncomfortable with the idea. Her cover of Costello's Allison, on her previous album had been met with universal derision, with Costello himself leading the the outcry by calling it "a waste of vinyl."

However, after a bit of negotiation, she relented; she'd cooperate if, in addition to her regular producer, Peter Asher and in a bid to lend authenticity to the project, she was allowed to bring in someone who was actually part of the musical genre, plus, Asylum would then agree to greenlight and fund her two pet projects - the Nelson Riddle project and the Spanish music album.   

Cretones' guitarist Mark Goldenberg was brought in to provide arrangements and play guitar - and the album ended up containing three songs written by Costello: Party Girl, Girls Talk and Talking In The Dark. And with the cover art’s brash, hot pink and black graphics and the singer’s new spiky, short-cropped hairstyle - Mad Love’s claim to New Wave authenticity appeared complete. 

Well, at least the public bought it. Her tenth studio album debuted at #5 on the Billboard's Hot 100 (a record at the time), quickly becoming her seventh consecutive album to sell over a million copies. It was later certified platinum and nominated for a Grammy.

However, Costello was not as gracious. In 1989, he admitted as much, saying "I was so snotty about Linda Ronstadt's covers. I was just being punky and horrible."

Costello now attests to her "artistic curiosity and daring." And, in actuality, the songs suited her quite well. You see, Costello, himself, had clearly been influenced by the country-rock scene which was Ronstadt's milieu and was only a few years out of a London Pub Rock band called Flip City whose repertoire included the likes of Hank Williams' You Win Again and the Amazing Rhythm Aces’ Third Rate Romance. More proof? In 1981, Costello would go pure country with his album, Almost Blue.

So, while a longtime coming, Costello's change of heart was, indeed, sincere. Some 40 years after the album's was release, Costello wrote in an essay about Linda Ronstadt, "In very different times, my reaction to having my songs recorded by other singers was downright suspicious, territorial and, at times even a little hostile. To say the least, I lacked grace."

And that's the whole story.

Now? 

On to the competition. 

The Song: Girls Talk

The Competitors: Edmunds vs. Costello vs. Ronstadt

Girls Talk - Dave Edmunds

Girls Talk - Elvis Costello

Girls Talk - Linda Ronstadt

Dave Edmunds

I have to begin by saying how much I admire Costello's writing style. It's potent and efficient. While I don't always enjoy his aesthetics or performing style, I do think he's an incredibly talented songwriter.

I also must confess that I had intended on writing about this song long before this, however, while doing research, I came across a blog which had a similar article. It was well-written and I was enjoying it - right up to the part where Linda Ronstadt was concerned. The writer's tone became instantly misogynistic - sort of a continuation of the long-disproven notion that girls can't rock, asserting that she didn't have the right to sing the damn song. Utter hateful nonsense. 

I immediately went to his comments section and shared my thoughts. The comment appeared and then... was promptly deleted! So, I continued to do my research, coming across the quotes by Costello used above. I went back to the blog and included them in my comments. And, again, the author of the blog deleted what I had to share. A third attempt, armed with even more information, resulted in the same. 

And it bothered me. Enough so, I couldn't bring myself to write this post. Well, obviously I got over it and just have to let you know, and for those of you who have been following this blog for a long time already know, you'll find no such judgements here. A performance is a performance. A recording, no matter who makes it, needs to be analyzed on its own merits and not viewed though some veiled agenda. That kind of bias does not fly here and doesn't sit well with me. So, this post's time has finally come and I plan to do unbiased justice to all three versions.

That opening salvo? Sounds like any number of Stiff Record intros... a product of its time. It's hot, chunky and well-connected. You immediately know what to expect - a bit of straight ahead, no-frills rock 'n roll.

Nick Lowe is twiddling the knobs, here and he brings an authentic vintage sharpness to the proceedings.

Edmund's voice? It's pitched through his nasal cavities and could be considered a bit annoying, but it's just bratty enough sounding to make itself quite at home here. I was always surprised that this didn't break larger stateside, but then the US had a rather odd relationship with the whole post-punk retro thing. Believe it or not, this was considered brash at the time. It was then considered edgy and alternative.

Now? It just makes me want to dance. It's catchy as hell.

Love the comradery implied with the backing vocals. Suits this to a 'T'. This is definitely a slice of boys' rock. And perhaps that's why it failed to light fire in the US, although lack of promotion might have had something to do with it, too. 

At the 2:06 mark, this is done.

Huh. That instrumental section? Meh. Is that a synth? What is that? Playing the melody line? A guitar? An organ? I dunno, but it's wrong. Everything has been very organic and roots-driven up to this point. That? Sounds faux. It takes me out of the moment.

And when Edmund's returns, so does the authenticity, although he has nothing new to add to this - it simply more of the same. 

A delight, despite that jarring instrumental section. 

Elvis Costello

Oh, cleaner intro and... I love the piano (I always do.)

Costello's vocals are like those of Bob Dylan... only more tuneful. But it's the same mush mouth. A vocal idiosyncrasy that prevented him from consistently breaking it big in the states on the Top 40.

A lot more air in this mix. The spacious reverb gives it a Roy Orbison/ghost-like feel. Also, with the guitars and drums taking a backseat to the piano and bass, Costello's version has a much more melodic feel to it - not that it necessarily benefits the song. I sort of miss the meat and potatoes of Edmund's take on this.

Listen to Costello's vocals on the second verse... mush mouth. It's unintelligible. And the backing vocals? Don't add the warmth and boy's club sensibility found in Edmund's version is missing. 

That counter-melody riff the piano keeps playing? Wearing out its welcome.

And Costello's vocals are an issue, again. It's bratty. Snotty. A little ragged. Not very tuneful. I think he's missing out on all the fun of this song. What does he think it's about? 

Love how the bass digs in at the 1:25 mark. 

Wow... this is over before you know it. Smart. This is a two minute slice of swagger. 

I just think Costello forgot to bring the fun.

But then, back in the day, he had a brittle sense of humor and took himself way too seriously.

Linda Ronstadt

Oh, I thought it was a chicken... it's girls laughing. Nice touch.

That opening brings to mind the sound The Bangles would popularize a few years later. 

Linda's in great voice... but when hasn't that been the case. 

I like the mix. The vocals are way up on top, where Ronstadt should be. That jangly guitar and the shaken percussion... fun. 

So, her vocal style is pretty... and full and lovely. I would like a bit more of an edge and have her bite some of her words off. A bit of grit. She seems content to remain in full legato-mode, connecting one note to another - which is what good singers do - but this is new wave punky fun... or it's supposed to be. The edges are all rounded off here. 

Still, she has a wonderful sense of drive, pushing the beat - but then her pop chops are unquestioned. At the time... she could make the phone book go Top 40. In that build to the chorus during the second verse? What lovely tone. And it sounds effortless. 

The backing vocals? Serviceable. I don't get a sense that they wanted to make much of a statement with this song. It could have been bratty fun. Or... gasp... even Ronettes' style camp. 

Peter Asher is doing his usual. It's like he's terrified of sharp edges, baby-proofing this sound for midwestern sensibilities. Wouldn't want to scare anyone, now would we?

The guitars have no crunch. And the overall sound is immaculate, as in sanitized. 

Still, this is a totally pleasant listen. Ronstadt's ability to make a song pop? Undeniable. 

The Verdict

Edmunds for me. 

I love the chunkiness of the mix. It feels vintage. The guitars sound great. His vocals? I enjoy that rockabilly nasal quality, although I do wish he'd added a bit of a sneer. Thing is... his is the version that made me want to dance. And that's important, here. This isn't a thesis - this is a slice of retro rock. It should be fun.

Fun is what's lacking with Costello's version. His lack of vocal precision also kills it for me; yes, it's edgy, but it's also unintelligible. You want to bring attitude to the table? I need to understand what you're trying to say. But bottom line? While the length is correct and the more melodic approach works, Costello's lack of humor and slyness prevents this from catching true fire. 

And fire is exactly what Ronstadt's version is lacking. I don't blame her. I blame Asher. He's playing it too safe throughout and he never asks much of Ronstadt, allowing her to remain in her comfort zone. Her vocals are lovely - too much so. She needed to play with the crunchy lyrics, interpret the word play, and find a bit of syncopation in the song. Instead, she simply sings it - very nicely - but nice isn't what was called for here. Still, the fault is not hers. Asher was the wrong person to produce this album. 

Edmunds comes the closest to getting it right. His version is a too long and the instrumental section is problematic, not quite fitting. But he still makes me want to dance.

So, it's Edmunds for me. Yes...

Sometimes... the first time need be the only time.

--- ---

And that's enough of me.

Okay, your turn. Leave your choice and thoughts in the comments section. I welcome a differing opinion and typically post all comments - unless they're obvious spam.

Until next time...

Thanks for reading... and listening.

Girls Talk - Dave Edmunds

Girls Talk - Dave Edmunds