WARNING: I ramble on about music in this one, so feel free to skip to the two versions of the song/s I’m rambling on about. Really. Be my guest. I won’t mind.
Once upon a time, way back in 1981 (A.K.A. The Dork Ages), a Canadian band called Lover Boy released a noise assemblage called “Everybody’s Workin’ for the Weekend.”
You may have heard it. A few hundred thousand million times.
The year before that, another Canadian band called The Kings released a dual tribute to L’Espirit du Weekend: “This Beat Goes on/Switchin’ to Glide.”
As a person who has a negative amount of musical talent and once inflicted G.B.H. on his G.P.A. by taking a music theory class, here’s the best comparison I can give of the two songs:
Lover Boy’s highly contrived effort was overplayed the second time* a DJ dropped the needle†.
The Kings’ effort might be overplayed if a radio station started playing it when it was released and played it non-stop until about … Now.
However, I discovered last night The Kings released a version of the two songs in 1979. It can only be classified as NCH-BOIR‡.
Observe. I mean, listen. Whatever, just click the damn links:
TBGO/S2G, 1979. If you don’t want to sit through the whole 6:19, listen to the first minute and then skip to 3:41 for the beginning of S2G. (Multiple salutes, salaams and hat tips to mojofilter02, who loaded this onto the Utubes.)
Same Songs, 1980. A much brighter and tighter version, custom-made for blasting out of car windows as one cruises around town on the weekend. (Or at least that’s what I would have done had I not been 11 or 12 when I first heard it.)
It’s obvious in the first version the band knew what it wanted to do, especially when you compare both versions of S2G. Fortunately, they met up with a producer who knew how to translate what the band wanted into a song that still makes me feel a bit hyper.
*You are of course entitled to your own wrongheaded opinion.
†Note to young people: This is not a drug reference.
‡Not completely horrible, but only in retrospect.