Daily Mael 1997

Follows on smoothly from the previous track and continues the mellow vibe. Relaxing, but nowhere near as spellbinding as the original.

As you’d expect really if the synths are stripped away and replaced with an orchestral arrangement. Some stunning vocal work from Jimmy Somerville, but on the whole, a bit plodding when you consider the sheer electrifying thrill of the original.

Twiddle, fiddle, mutter, clap and shhhh. A very slight distraction for orchestra buffs.

Not enough bite in the guitars. No sharp intake of breath. Horrible extra voice. The elongated ending is unbearable. It really needs to stop a lot, lot earlier.

Superfluous makeover. Lacks atmosphere. The high ‘you’ near the end is its only redeeming feature. Otherwise it leaves me cold.

Ha! Welcome extended version of the original. Splendid arrangement. The vocal acrobatics are a hoot.

Valiant effort, with euro-pop bounce, but not a patch on the original. There’s just no lift at the chorus which made the original surge. Shame. Could have been joyous.

Very chilled out version compared to the harsh original. Percussion parts not so overwhelming this time round with a very pleasing xylophone type part. Mellow wee work out. Like it.

Deeper thump, so it’s a bit beefier than the original. That’s about it, though. A sort of helicopter percussion bit adds something slightly different at one point, but on the whole it’s a bit flat.

Heavier guitars and extra snarling. Adds nothing to, and probably detracts from the original. So, a lose.

Delightful synchronisation of strings with Russell’s voice. Love the suspenseful build up in the instrumental part and the fabulously mournful ending. So different from the original that I’m calling this a draw.

Not too radical a re-working. Sure, it’s slicker, but all the worse for that. The brashness of the original wins this one.

Brave re-arrangement of an already complicated structure with added brass, banjo and sundries. The oompah at the chorus is great. This time after the ‘vaudeville is gone’ line another completely different texture takes over. Compelling stuff.

Love the guitars in this version, but they should’ve been higher up in the mix. Plus, I keep waiting for the unrelenting beat to change step more often. Apart from that, this is a close call between original and new version. For now, I think this one just edges it.

Subtle and not so subtle string arrangements and the backing choral singing etc give this version a bit of an overkill feel. Too much, man.

With its phased voice and acoustic guitars, this just edges it over the original, as the melancholia is ramped up and there’s a relaxing, lingering fade out.

The stabbing strings give it a thrilling urgency. I’m reminded of Psycho at the ‘shower, another shower’ bit. If this was the only recording of this song, it would be exceptional. But, you can’t beat the thrill of the original.

Beats the original. The orchestral arrangements conducted by Tony Visconti pack an emotional punch. Gripping.



















1967 – 1969