stip wrote:I get that, but I think you might be missing my point, based on the response.
Basically, for a song like Sirens or MYM, there is something about pearl jam's take (and particularly EV's vocals) that make the song work, or make it interesting, and either enhance the best qualities in a style of song or overshadow its excess to make me like it.
I certainly don't mean to imply that tone, timbre, stylistic behaviors, and stuff like that doesn't matter. I can think of a ton of artists who could have sung Pony, and I would have liked it as much as Tom Waits singing it....but obviously Cher isn't one of them. And Rod Stewart's Downtown Train veer so far away from the elements that imbue the song with humanity that the whole thing eats nuts.
So for instance, I love a song like Heart Attack and Vine, but if you played me some similar song by a bluesy band in the same style, but with a different singer, I probably wouldn't care all that much about it. It could be the same song, even.
I agree with this, in that it's not dissimilar to how I feel about Let the Records Play. It has none of the human imperfection, swayingly inexact rhythm, or playful instrumental twist that makes that type of music work. Performance wise, it's workmanlike....metronomic. The guitars are tightly controlled. The singing is SINGING, not attitudinal at all...all of which is why it "feels" more like Shania Twain-type music than T-Rex. A series of choices, all performance-side, that prevent the song from being good.
If I am understanding you right (maybe I'm not) you seem to be saying that something like Get behind the Mule will be great if you put any competent musician in front of it because it's a great song. And maybe that's the case. But I think it might be a case of tom waits making the song great, or enhancing it, anyway.
I don't think Nick Cave could have been brought in to sing over the band track of Burning Heart for the Rocky soundtrack, if that's what you mean.
Although I'd probably have to listen to that.