Covers and Mashups

One of the great things about music is that it builds off of itself. As artists come and go, musicians’ influence upon each other occurs naturally. There is no question that modern music would be entirely different had it not been for classics from the ’90s, ’80s, ’70s and ’60s; even 18th-century classical music played a crucial part in paving the way for modern music’s growth.

Sometimes this influence is very indirect and hard to trace; for example, the Beatles’ influence on a band like Nirvana. The two may not sound anything alike, but I am willing to bet that among the large variety of bands directly influenced by the Beatles, at least a few found their way into a young Kurt Cobain’s headphones. From that point on, I could imagine how his understanding of music might have been slightly altered; enlightened, you could say.

Don’t get me wrong, though. Kurt Cobain is a musical genius with many, many independent ideas. I am just saying that influence is unavoidable among musical artists and listeners. What we hear develops our understanding of how music works, and then we build off of that understanding.

Sometimes, however, this influence is much more noticeable and direct. Case in point: musical artists covering or sampling each other’s songs. Sometimes the cover of a song is better than the original, according to some, and sometimes it murders the original, according to others. Often, we go long periods of time without even realizing that a song is a cover. Sometimes artists (especially rappers) sample parts of other songs, allowing a type of music to appeal to a whole new audience.

Every cover serves a different function. And with every cover or mashup comes debate. Here is my one-sided debate on a few covers:

1. “Landslide” (Original by Fleetwood Mac; covers by Smashing Pumpkins and Dixie Chicks)

One of the reasons that the original Fleetwood version of this song is so good is its simplicity. It features nothing but Stevie Nicks’ voice and an acoustic guitar. I find it perfectly made the way it is. I suppose Smashing Pumpkins and The Dixie Chicks felt so too, because both of their covers retain the simplicity by excluding bass, electric guitar, drums or any other yip yap, just like Fleetwood Mac did.
The Dixie Chicks added their country twang by using a banjo, and Smashing Pumpkins’ Billy Corgan’s rough, whiny voice gives their version its own unique spin. These covers exemplify a case in which the coverers leave the song pretty much untouched, only altering it slightly. Paying homage to the artistic style of the original is certainly a respectable way to go about covering a song.

2. “Hallelujah” (Original by Leonard Cohen; covers by Rufus Wainwright, Jeff Buckley and others)

When Leonard Cohen originally wrote this song, it was not set to music — it was spoken poetry. In his recorded version, you can tell that his singing skills are lacking, but the lyrics and melody he creates are beautiful. Jeff Buckley decided to create his own rendition featuring his awesome electric guitar. He keeps the lyrics and melody, but his guitar tone and style are amazing, and in my opinion, create a better sound than the original.

Then Rufus Wainwright took the song into his hands, creating what is possibly the most famous version of the three (you may have heard it in Shrek). He plays it on piano, accompanied by his strong voice. It sounds the cleanest and purest of the three, but I would still say that Jeff Buckley’s version is my favorite due to the flawless guitar playing.

These three versions demonstrate how a single set of lyrics and melody can shine through in many different musical styles, while retaining the spirit of the original.

3. “Thank You” (Original by Dido; sampled in “Stan” by Eminem)

The original version of this song is relaxing, and Dido’s voice is very peaceful. It has a ’90s pop beat and a totally light-rock feel. When Eminem made “Stan,” he kept the baseline and chorus of the original, slapped on a rap drum kit, and delivered a dark, distorted and lyrical rap. He twists Dido’s relaxing version into something much more ominous and disturbing. However, by doing so, he creates a song that appeals to an entirely new audience: rap fans. It’s amazing, and in my opinion Eminem’s song does complete justice to the original.

Covers exemplify how much artists are truly influenced by each other. Artists can pay homage to the brilliance and creativity of others, while displaying their own. The variety offered in covers, like the ones above, also allow songs the opportunity to reach a wider audience. Next time you listen to a great song, consider how it could be “enlightening” your overall understanding of music.

On Feb 14., Valentine’s Day, KDVS is holding an event featuring the bands Farallons, Taughtme, Pablo and Big Buff at the music, art and retail venue Third Space.

In a collaboration between KDVS and Third Space, DJ Drew Evans, host of the KDVS Monday morning radio show “Apartment 5,” and Chandler Lavin, director of materials at Third Space, worked together in scheduling the bands, who all hail from Northern California.

Both Evans and Lavin expressed excitement toward this event’s showcase of lesser known local talents whose sounds fall within the indie-rock spectrum.

“We look to exhibit and promote art that’s not already accepted or common in the community,” Lavin said. “Davis, as much as it’s diverse, is very homogenous in the [arts] culture. We’re trying to be an alternative venue, whether it’s music, theatre or performance art.”

Farallons, a band recently discovered by Evans, released their first EP Outer Sun Sets in 2013 and will be performing for the first time in Davis. They offer a hypnotizing blend of surf-rock coupled with vocal harmonies and synthesizer sounds.

Andrew Brennan, who performs vocals and guitar for the band, described his settling in the Ocean Beach neighborhood of San Francisco from the East Coast as a seminal and vital point in his musical career, whether through learning to surf or how to collaborate more seamlessly with other musicians.

“NorCal is instrumental to our music. Between the entire environment here [Northern California] and the place where we live [Ocean Beach], it’s an inspiring natural environment. It’s been really informative and eye opening, revealing a new music sensibility and a lifestyle I didn’t know growing up on the east coast,” Brennan saidj.

Brennan expressed the value of community arts venues and college radio stations because they are invaluable resources for the preservation of authentic talent in community art and music.

“They [community venues and college radio stations] are a springboard for everything music. Third Space seems like a really neat place to play … I love college radio; I think it’s the most relevant and enjoyable radio to listen to. Whether I’m on the east coast or here [Northern California], I seek out a college station for music. The DJs care about what they put out,” Brennan said.

Third Space, which recently reached nonprofit status in January, seeks to provide a venue for all artists, regardless of financial constraints or skill level. According to Lavin, their do-it-yourself, resourceful ethos has attracted a lot of enthusiasm amongst the Davis community, especially as the venue has offered an increasing amount of music and arts events, along with the availability of workshops and studio space.

“We get a lot of enthusiasm about what we’re doing here. There’s a lot of popularity for music events, of which we hold about five a month, and we’re getting art shows back on track and those have been pretty popular as well,” Lavin said.

Evans said this event is a testament to the strength of KDVS’s presence in the art community.

“KDVS is going strong — we’re holding a bunch of events,” Evans said in a phone interview. “We have DJs that hand pick music; there’s a human touch that’s very integral to our community. We’re hoping to be doing a lot more stuff with Third Space in the future.”

Third Space is located at 946 Olive Drive. The suggested donation for the event is $5.

MUSIC

Dr. Lonnie Smith Trio
Feb. 13 through Feb. 15, 8 p.m., $19 to $42
Mondavi Center
Organist Dr. Lonnie Smith, with guitarist Jonathan Kreisberg and drummer Jamire Williams, will be playing sets for three straight days this week. Smith played with guitarist George Benson in the 1960s before embarking on a solo recording career. The Jazz Journalist Association gave him “Organ Keyboardist of the Year” on five different occasions.

San Francisco Symphony
Feb. 13, 8 p.m., $50 to $94
Mondavi Center
The SF Symphony, conducted by Musical America’s 2012 Conductor of the Year Jaap van Zweden, will play two works: the Violin Concerto in D Minor by Sibelius, which will feature a solo by Simone Lamsma, and Tchaikovsky’s Symphony No. 4. There will be a pre-performance talk with Boston Conservatory Music History Coordinator Elizabeth Seitz an hour before the show.

“Lights Low” with The Afterglow
Feb. 14, 8:30 p.m., $7
Sciences Lecture Hall 123
Come spend Valentine’s Day with some a cappella groups. The concert will feature performances from two UC Davis groups: The Afterglow, a male group, and The Spokes, a female group. Also performing are The UC Men’s Octet from UC Berkeley and The Hightones from UC Santa Cruz.

UC Davis Symphony Orchestra
Feb. 16, 7 p.m., $8 students and children, $12 to $17 adults
Mondavi Center
The UC Davis Symphony Orchestra, conducted by Christian Baldini, will perform four works by Schumann, Berio, Sibelius and Ravel. Artist-in-residence Lucy Shelton, a soprano singer, will perform on the Berio and Sibelius pieces.

The Chieftains
Feb. 19, 8 p.m., $35 to $68
Mondavi Center
Acclaimed group The Chieftains has been performing traditional Irish music for over 50 years. During this time, they’ve played a concert for Pope John Paul II, won six Grammys and appeared on the soundtrack to Stanley Kubrick’s film Barry Lyndon.

ART

2nd Friday HeArtAbout
Feb. 14, 5 p.m., free
Downtown Davis
Another monthly installment of an art-themed event in which several art receptions and events happen throughout the downtown area. This month features a romantic theme. You can find a guide to the events in this month’s ArtAbout in the Davis Dirt.

Classic Film Festival — The Apartment (1960)
Feb. 16, 6:30 p.m., donations encouraged
Davis Odd Fellows Hall, 415 Second St.
The three-week long Classic Film Festival concludes with this 1960 Billy Wilder Best Picture winner. The film tells the story of C.C. Baxter, played by Jack Lemmon, a man who lets his bosses use his apartment for their affairs as well as his relationship with Fran Kubelik, played by Shirley MacLaine.

DRAMA

A Night of Shorts
Feb. 15, 8 p.m., admission by donation ($5 to $10)
Wright Hall, Lab A
Studio 301 Productions, a student-run theatre group, will present a one-act play along with two radio plays. Featured productions include “Lion Hunting” by Abbott and Costello, “Sure Thing” by David Ives and “Help Me, Doctor or: Oh The Place You Won’t Go” by Jonathan Goldstein and David Rakiff.

On Feb. 15, student-run theater group Studio 301 Productions will present “A Night of Shorts!” The program consists of two radio plays, Help Me, Doctor and Lion Hunting, and a one-act piece, Sure Thing, all of which are directed by undergraduates.

Studio 301 is now in its 10th season, having started in 2004. It is an entirely student-run undergraduate club, and they put on one show per quarter. Past productions have included RENT, Cabaret, The Last Five Years, Beyond Therapy and A Midsummer Night’s Dream.

“Studio 301 is known for putting on bigger productions in the past,” said Audrey Shih, a fourth-year English major and director of Sure Thing in an email. “In an effort to switch things up a bit and try new things, Kevin Adamski, one of the other directors for the show, and a few of the Studio 301 officers came up with the idea of putting together something much more free form with low time commitment.”

A radio play is a purely acoustic theater piece, usually performed by a panel of performers. The medium has seen a resurgence due to podcasting and online radio streaming. Lion Hunting is originally by Bud Abbott and Lou Costello, while Help Me, Doctor premiered on WireTap with Jonathan Goldstein.

“Usually our productions are a play or musical, so this is the first time we have ever presented a ‘festival’ of shorter pieces,” said Marissa Saravis, a fourth-year dramatic art major and president of Studio 301 in an email.

Shih said to expect a more relaxed and freeform showcase in “A Night of Shorts!” due to the less formally produced nature of the acts.

“Originally, [Adamski] expressed interest in directing a radio play and then Studio 301 felt it was a great opportunity to turn it into a ‘Night of Shorts’ to feature a few short theater pieces… [I] wanted to direct Sure Thing for a long time, and felt this was the perfect opportunity to showcase it, [so] I accepted,” Shih said.

Sure Thing’s plot watches a happenstance meeting of two characters, whose conversation is repeatedly reset by the use of a bell, the conversation correcting itself whenever one of them responds negatively to the other.

Kevin Adamski, who majored in dramatic art and graduated last year, has been sporadically involved in Studio 301 since 2009. He is directing the radio play Help Me Doctor, which is also called Oh! The Places You Won’t Go. It is based on a correspondence between Franz Kafka’s Gregor Samsa and Dr. Seuss.

“The story addresses themes of hope and despair in a unique way using recognizable characters. I really wanted a way to share this story, but due to its short length I knew it wouldn’t necessarily stand on its own as a performance,” Adamski said in an email.

Zoë Samborski, a fourth-year dramatic art major and publicity coordinator for Studio 301, said audiences can expect an evening full of laughs and quick-paced stories.

Studio 301 will be producing a large-scale performance in the spring, and auditions will take place on March 31 and April 1.

“Studio 301 will be presenting Seussical the Musical, opening May 9 in the Wyatt Pavilion Theatre, running both that weekend and the next. It’s sure to be a fun, colorful, over-the-top production,” Saravis said.

Doors for “A Night of Shorts!” will open at 7:30 p.m. on Feb. 15 in Lab A of Wright Hall. Admission is free, but it is suggested that attendees donate $5 to $10.

Looking for something new to do with your date this Valentine’s Day? How about getting serenaded with your favorite love songs? If so, then UC Davis’ all-male a cappella group, The Afterglow, has just the event for you.

On Feb. 14, The Afterglow is hosting their third annual “Lights Low” concert, a romantic-themed annual show that is always done as close to Valentine’s Day as possible.

The group of 14 UC Davis students will be performing new songs they’ve been working on as well as some old pieces. All of the songs are performed a cappella, meaning only vocals will be used to present the songs.

Alongside The Afterglow, the concert is set to feature UC Davis’ The Spokes, UC Santa Cruz’s The Hightones and the UC Davis band Jadoo. The only group that is not performing a cappella is Jadoo. The Spokes and The Hightones are all-female groups while the Men’s Octet is an all-male group.

“The premise behind the groups we invited is that they’re single-sex groups,” said Justin Nool, a fourth-year human development major and Afterglow music director. “All-male-all-female concerts are one of our traditions.”

Jadoo was added after UC Berkeley’s Men’s Octet had to drop out. Jadoo is a five-person band that fuses Middle Eastern and Western musical perspectives, and Jadoo means “magic” in Farsi.

The Spokes and The Afterglow have worked together many times throughout the years. They expressed excitement about performing a new repertoire that will feature some new soloists from their groups. Their set list will include “Bones” by Ginny Blackmore, “I Need Your Love” by Ellie Goulding and a “Kiss Mix” mashup featuring pieces of “Kiss the Girl” by Katy Perry, “Kiss the Girl” from Disney’s The Little Mermaid and “Kiss Me” by Sixpence None the Richer.

Fourth-year English major and Spokes’ President Rachel Riley expressed her excitement about performing this setlist at “Lights Low” in an email.

“We’ve chosen songs that revolve around love, though each song features a different kind of love,” Riley said. “We’re stoked to perform our ‘Kiss Mix’ medley at a show for the first time! It’s a cool fusion of a Disney song and a 90s classic.”

The UC Berkeley Men’s Octet and UC Santa Cruz’s The Hightones have worked with The Afterglow on past occasions and said that they will likely draw some fans to the concert. The Men’s Octet is a world-renowned all-male group that performs everything from current popular hits to classic Sinatra pieces. The Hightones are known for their fun high-energy performances and repertoire.

The Afterglow has decided not to release their set list for the show as they wish to surprise their audience with what they have to offer. The group is planning on adding a unique intimate touch to the show. Fourth-year technocultural studies major and Afterglow member Otelo Contreras explained the atmosphere the group hopes to create at the concert.

“There’s a different energy we sort of bring [to a concert] than other groups,” Contreras said. “We’re all really good friends and we all interact with each other on stage. I feel like that draws people in a little more. It’s more of a show when you get to know the characters in the group.”

Whether you have a valentine or are riding solo, The Afterglow encourages anyone who enjoys a cappella music to attend the concert. Fourth-year environmental science and managerial economics double major Kevin Pelstring is the president of The Afterglow and wants everyone to know the concert is a welcoming environment for all.

“If you don’t have a date, come to our concert and you’ll have at least 14,” Pelstring said.

Tickets for “Lights Low” can be purchased $7 presale through the UC Davis Ticket Office or at the door for $12. The show will be at 123 Sciences Lecture Hall and doors open at 8 p.m.