Well, this one pissed me off right out the gate. I bought the British import, when no US version had been announced. I was all set to review it when the US version was released, with six different tracks (out of fourteen)–five tracks replacing songs on the UK version, and a different take on “You Can Make Them Like You.” I should have pooped in my copy of the UK version and mailed it back to One Little Indian Records for pulling such a cheap scam. Instead, sucker fanboy that I am, I went out and bought the US version, which I will review instead. I will comment on the UK-only tracks at the end of the review.
OK. Deep breath. Be objective.
On Your Sleeve is a covers album, and covers albums are almost never consistent affairs. If the songs sound just like the originals, there’s no point, but if they’re done dramatically differently, there is a distinct risk of creating something horrible and monstrous.
So, how does this one go? Well, half the fun of a covers album is looking at what songs are covered, so let’s examine this one track by track.
“Leaving Babylon”
Original by Bad Brains
The original is way too spacey-reggae for my tastes, and this is a big improvement. While I would never go out of my way to listen to the Bad Brains version, this fleshed-out arrangement manages to unearth the melody that’s buried deep in the original. I never would have thought I would like this song, but I love it. A big winner.
“Me and Julio Down by the School Yard”
Original by Paul Simon
A straight-up cover, which doesn’t add anything to the original or subtract much from it. It’s perfectly pleasant, though.
“Sway”
Original by The Rolling Stones
“Sway” is one of the most badass songs of all time. This version adds some lame synth and removes all the swagger, threat, and evil. I really don’t understand why anyone thought this was a good idea. If they were going to drop a bunch of tracks for the US market, they should have dropped this one.
Did we really need an ’80s version of “Sway”?
“Russian Roulette”
Original by The Lords of the New Church
Nice to see this obscurity dug up. While not dramatically different from the original, the original sounds like shit, so there’s a big improvement right there. Putting the lead guitar hook up front in the mix is another improvement. I’m very happy to have this.
In his liner notes, Malin points out that “I’m putting on weight for the Oscar” is a great line. Yup.
“Walk on the Wild Side”
Original by Lou Reed
“Walk on the Wild Side” is one of the most badass songs of all time, although you’re probably sick of it. I know I am. This version adds some lame synth and removes all the atmosphere and sleaze. I really don’t understand why anyone thought this was a good idea. If they were going to drop a bunch of tracks for the US market, they should have dropped this one.
I guess it’s still better than the Marky Mark version.
“You Can Make Them Like You”
Original by The Hold Steady (as “You Can Make Him Like You”)
Not as good as the original, but removing the sludge and folking it up a bit make for a fine interpretation anyway. However, this take isn’t as good as the one that was on the UK version (see below).
“Harmony”
Original by Elton John
An odd interpretation. The verses are all sneering and dirty-sounding–Malin seems to take at least a partial cue on how to sing “Hello” from the Oasis song–and the chorus sounds like the pop-tastic original, minus the bombast (bombast is not an insult–it’s great in the original). A bunch of effects pedals kick in at the end while he’s determinedly singing “Harmony! Harmony!” I like it, but it’s definitely odd.
“It’s Not Enough”
Original by Johnny Thunders
If Jesse Malin hadn’t put a Johnny Thunders song on his covers album, everyone would have known that he really wanted to but didn’t because he was (unfairly) accused of ripping off Johnny Thunders a lot back in the D Generation days. Good for him for including this, a one-minute condensation of a four-minute song. It’s pretty cool.
“Looking for a Love”
Original by Neil Young
A propulsive take on a song that probably wasn’t meant for a propulsive take. I initially couldn’t decide if I liked it or didn’t, but after a few listens, I’m leaning towards “like.”
The UK version has this as the first track, which works better than sticking it in the middle of the album.
“Lady From Baltimore”
Original by Tim Hardin (as “The Lady Came From Baltimore”)
Tim Hardin wrote some great songs, but he sang them too fast. (Expressing this sentiment would likely get me stoned by folk geeks, if folk geeks were strong enough to lift rocks.) Rod Stewart slowed down the already excellent “Reason to Believe” and turned it into a breathtaking masterpiece. Malin doesn’t nearly do that, but he does slow this down and deliver quite a nice performance.
“Operator”
Original by Jim Croce
Pretty straightforward, but well-suited to Malin’s voice. The keyboard is a nice addition, giving some texture to the song. I think I may like this better than the original. I know I like the arrangement better.
“Fairytale of New York”
Original by The Pogues with Kirsty MacColl
Is it a good idea to cover one of the most perfect, and perfectly realized, songs of all time? Probably not, but this one almost gets by on sheer enthusiasm. Despite the blasphemy, it made me smile, especially the drunken dialogue at the end. I wouldn’t blame any fan of the original for hating this, but even an iffy rendition of this piece of nirvana can give me goosebumps.
“Hungry Heart”
Original by Bruce Springsteen
Malin slows this down a bit, which is a nice touch–in fact, he might should have slowed it down a bit more. Springsteen sounds determined to make wrong decisions; Malin sounds like he’s making excuses for his. I think this is the third record Malin’s put this out on, so I guess he likes it. I like it, too, but maybe not that much.
“Everybody’s Talkin’”
Original by Fred Neil, made famous by Harry Nillson
You may think I’m out of my mind, but I swear he found some similarities between this song and Neil Young’s “Thrasher” and had that in mind while arranging and performing this. I have to confess, the link had never occurred to me before I heard this version. Maybe I’m just weird. Anyhow, thumbs up.
Executive summary? On Your Sleeve careens between too similar to the originals or different for better or worse, but on the whole, it’s pretty good. The joy Malin brings to hanging out with his influences for awhile is infectious, making it easy to forgive the occasional stumble.
UK Tracks
The UK version does not include “Leaving Babylon,” “It’s Not Enough,” “Lady From Baltimore,” “Fairytale of New York,” and “Hungry Heart.” As previously mentioned, the version of “You Can Make Them Like You” is different.
“Do You Remember Rock ‘n’ Roll Radio?”
Original by The Ramones
I really like this take–it’s more electric than most of the material recorded for the album, and Malin imbues his vocal with mourning, wistfulness, and deep love of music–he’s not a great vocalist, but he infuses this one with nuances that the Ramones just weren’t going to do. It’s a shame it was dropped from the US edition.
“Gates of the West”
Original by The Clash
Another one that shouldn’t have been dropped from the US version. This semi-obscure Clash gem works very well with song-speak vocals and heavily strummed acoustic guitar. Needless to say, it doesn’t rock as hard as The Clash, but it’s good on its own. I especially like the conclusion.
“Rodeo Town”
Original by The Kills
I had never heard of this song before purchasing the album. I hope Malin decided to record this to give it some publicity and not because he thought he could improve it, because upon digging up the original I discovered that it leaves this version in the dust. I shall investigate The Kills further.
“Wonderful World”
Original by Sam Cooke
Malin cannot sing like Sam Cooke. It’s such a beautiful song that it’s probably enjoyable in any rendition, but there had to be better choices out there.
“I Hope I Don’t Fall in Love With You”
Original by Tom Waits (as “Hope I Don’t Fall in Love With You”–why can’t Malin get a song title right?)
As with Dylan, Tom Waits’ songs are often just as enjoyable, if different, sung by someone else in a more conventional style. (Certainly it’s easier to listen to those versions around your girlfriend.) This is very suited to Malin’s voice. Nice job.
Why drop it? Was “Walk on the Wild Side” unavailable?
“You Can Make Them Like You”
Original by The Hold Steady (as “You Can Make Him Like You”)
This is much better than the version included on the US version, and I don’t understand why Malin recorded it again. I don’t understand a lot of the decision-making behind this dual-release.
Jesse Malin – “Leaving Babylon” (Two minute snoopet only, dammit–why only half the song? Listen to it anyway.):
Jesse Malin - “Russian Roulette”
Posts in this series below the fold.
An Introduction to D Generation
Album Review: D Generation – D Generation
Album Review: D Generation – No Lunch
Album Review: D Generation – Through the Darkness
Album Review: Jesse Malin – On Your Sleeve (this post)
Gordon Winslow
Alex LaPointe
Jason Austinite
normalnorman
mattmck01