It’s hard to think of too many songs that have produced three or more very different, very high-quality recordings. Back in high school my buddies might have cited “All Along the Watchtower,” with versions by Dylan, Hendrix, and Dave Matthews, but I refuse to recognize the Dave Matthews version as great. “Yesterday” is the most covered song of all time, but it’s hard to think of any truly great versions besides that original Beatles recording—maybe Boyz II Men? Eh.
And then there’s “I Heard it Through the Grapevine.” By my count, there are four great versions: the first released recording by Gladys Knight & The Pips, Marvin Gaye’s classic take, an odd interpretation by the Temptations, and finally Creedence’s version, taking the song into the world of classic rock jamming.
The song was actually first recorded by the Miracles, in 1966, but Berry Gordy vetoed the recording, and it wouldn’t be released until 1968. The second recording was by Marvin Gaye, in 1967, but this take was also initially shelved by Gordy. And so, the first released recording of “Grapevine” came from Gladys Knight & The Pips, and even then it was only after Gordy reluctantly agreed. There’s no question that Berry Gordy was a giant of the music industry, but how could he not see what a great song he had on his hands?
When the song’s writer, Norman Whitfield, embarked upon recording the Gladys Knight version, his goal was to “out-funk” Aretha Franklin’s “Respect.” Hard to say if he succeeded, but the result is a funky track nonetheless. It’s a fairly standard soul recording, with an electric guitar shuffle and gospel-y piano interjections. Knight’s alto voice has a lot of muscle to it, and she really pushes the track along, enthusiastically interacting with her backing singers.
Gladys Knight & The Pips – I Heard it Through the Grapevine (YSI) (filesavr)
Next up, Marvin Gaye. You’ve all heard this, the definitive take. But even after the success of the Pips’ version and continued begging by Whitfield, Gordy would not permit it to be released as a single. Instead, it was included on Gaye’s 1968 In the Groove, and it easily outpaced the album’s single, “You,” in popularity. It’s not hard to see why. With Gaye’s incomparable vocals and chilling string parts played by the Detroit Symphony Orchestra, this track has an almost terrifying groove.
Marvin Gaye – I Heard it Through the Grapevine (YSI) (filesavr)
The Temptations featured the song on their 1969 Cloud Nine, one of their first forays into the land of so-called “psychedelic soul.” It’s a somewhat strange interpretation; first of all, it’s in the major mode, which gives the song a very different feel. It’s also dominated by four-part harmony that could be right out of a Grateful Dead song. Granted, the vocals are more soulful and the guitar shuffles more smoothly than the Dead, but you can really hear the psychedelic influence in this recording.
The Temptations – I Heard it Through the Grapevine (YSI) (filesavr)
And finally, Creedence Clearwater Revival. They turn the song into an eleven-minute classic rock jam with multiple guitar solos and extended sections of the simple repetitive groove that anchors the tune. CCR’s music is sometimes referred to as swamp rock, and I feel like this track fits nicely under that title. The repetitive bass line has a slight funky fuzz to it, and Fogerty’s strained, powerful vocals effectively communicate the pain embodied in the lyrics better than any of the song’s other interpreters not named Gaye. It drags a bit, but it’s still quite a track.
Creedence Clearwater Revival – I Heard it Through the Grapevine (YSI) (filesavr)
Countless other bands have covered the song, and some other versions may even be great. But if they are, I haven’t heard them. The recordings above are a great reminder as to how covers can truly reinterpret songs in a wonderful way. Enjoy.
Here's the weird (or, now that I really think about it, unsurprising) thing. These odd collaborations are all completely baller. They mix genres and styles to reach a wide audience that will eat up what they're setting down. The DJs find their tunes popped up through peppy vocals and smooth flows. The rappers find their beats inspired with a stylistic infusion evocative of some of the best crossover success artists. See: Ricky Martin, Cristina Aguilera, Shakira, etc.
Usually when I go to a show the purpose is to see a specific band. There are goals for the show, such as to hear a specific song, or finally see so and so band live. Last week though, Chris and I went to a show just out of curiosity about the bands and the venue itself. The show, at the very alternative and fun Club Passim in Harvard Square, was an EP release party for the newly christened Tiny Mtns, formerly known as Elijah Wyman, along with local folk acts Mr. Sister and The Points North courtesy of local folk label 
