Dylan cover a day: A simple twist of fate with a real twist at the end

By Tony Attwood

With a song such as this which has well over 50 established cover versions, and goodness knows how many other obscure ones, my tendency is to start by listening to some recent recordings, for musicians who take on a song that is almost 50 years old not only have the task of creating a performance that is different from the original but also of offering something new to say after so many others have had a go.

And this is the trouble with Simple Twist, for it is, in essence, a very simple song with a very recognizable penultimate line that rises. And those first three lines are also very similar with just the descending bass differentiating them in musical terms.

Now as usual, I’ve included a range of covers, but if you only have a few moments, or you are really looking for something different, just skip through this whole piece (although it pains me to say that) and take in the Maria Pia De Vito version which is the final video in the selection.

But I’m hoping you’ll stay with me here, as I am starting by listening to more recent editions – this first by Ryan Adams is pleasant enough, and has a different sound from Bob’s original… There’s nothing wrong with it, but I don’t really learn anything new, nor do I really feel drawn to going back to listen again. The long coda leading to the fade out which plays the same two bars over and over is a nice idea, giving a feeling of the eternity felt within the song, but, it’s not enough for me.

It is a great relief to leave the voice in the track above and come to Emma Swift whose voice is exquisite and she and her arranger and producer have done the most difficult thing of keeping the song as it was, but making me want to hear it again. It is that combination of an elegant voice and delicate accompaniment that draws me in. This, I feel is how this song should sound.

I am going to jump sideways now because I’ve suddenly remembered (and “suddenly remembering” is something that happens increasingly as I get older, like suddenly rembering I put a pan of milk on the cooker to boil an hour ago and the house now seems to be on fire) that I wanted to include Concrete Blond, as Jochen included it in his review of the song but the recording noted there has vanished from the internet.

Listening to that version for the first time since Jochen provided his article five years ago, I’m struck with the same feelings that I had then: that this is another interesting re-interpretation, but which also gives us through the variations in the way the singer presents the vocals, a completely new insight into the song. I’m glad I went back – although having done so I am almost tempted to re-present more of Jochen’s choice – there are seven extant versions there – but no I will leave you to go back if you wish.

But with so many covers available it is impossible to listen to them all and draw meaningful conclusions. However I would highlight Mary Lee’s Corvette because of the way they’ve pulled back the vocals, and let the accompaniment explore what it has got.

And of course I am eternally drawn to Judy Collins, an artist whose singing always explored different approaches. She’s still with us, in her mid-80s, and I do hope she knows many of us are still listening.

And also I can’t avoid including Bryan Ferry. It’s a jolly and bouncy song he gives us, but still manages to convey all the nuances of the original. It’s 9.15am as I am writing this on a miserable August morning, and I want to get a bit of a fun into the day. The computer has just told me my printer is low on ink (which means half an hour trying to work out how to remove the old ink and a further hour where I put the new cartridge), and I need to find some bounce. Although first I do have to include Bryan Ferry…

If you are looking for a really, really different interpretation of the song, and perhaps feel I haven’t given you that yet, try this…. but no cheating… no stopping the recording after 15 seconds. You’ve got to take it all in. This is the version that gives me the lift, and makes me ready to tackle the printer ink. Although I think a coffee is due first.

Indeed having listened to that I feel ready to take on the day, refreshed in the knowledge that there is always something new one can do, no matter what raw materials you have.

The Dylan Cover a Day series

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