Hurt: What's the Best Version?

So the song Hurt, just about everyone knows it, and it ranks very highly in my favourite songs lyrically. There is one thing I struggle to put my finger on however; that is what is the best version of the song? There has been a number of strikingly distinct renditions of the song and making a decision as to which treats the lyrics better is indeed difficult. If you look at any version's youtube video the comment section is packed with disagreement over who performed the superior rendition, and in typical youtube comment section fashion, the discussion is completely sophomoric, so here's my thoughts in a little more detail on the who did it best.

To begin with let's talk about the original by Nine Inch Nails, written by lead singer Trent Reznor. It deals with the isolation felt within the grip of heroin addiction and self-harm and the feeling of all internal value being dismissed one way or another. The lyrics' sheer bleakness is matched by sparse atmospheric instrumentation and a beat with real impact on the chorus, almost like its begging for some kind of breakthrough to the solitude. What brings the whole song together is the way he Reznor goes high on the chorus putting desperate emphasis onto the words 'You could have it all, my empire of dirt, I will let you down, I will make you hurt', driving home the image of the singer as a liability: no good to himself and no good to anyone else, expecting nothing less than desertion.


Right off the bat I'm going to upset a few people by saying that the best version is quite certainly not the Johnny Cash cover from American IV in 2002; there are few songs for which we can say the cover is better than the original and I'm afraid this is not one of them. I speak as a big fan of Cash (who himself was no stranger to addiction), of course it is such a significant song looking back at his life: it's gone down as his epitaph, being released so close to his death. As well as this the video is so touching, filmed in his own home, it reflects the pain in the lyrics being taking form in Johnny's grief for his wife June, and as the closing of the piano lid at its conclusion is such a fitting farewell for the music legend we call The Man In Black. While I (as well as Reznor himself) consider the changing of 'crown of shit' to 'crown of thorns' in the second verse a more fitting, thoughtful idea; Johnny's age really shows in his vocals, staying flat in the chorus is a lot to lose for the progression of the song, no less the lack of time taken to build the song, the tempo ought to evoke lethargy rather than the usual cadence one would expect from a country record.


David Bowie joined NIN for the performance of Hurt at then end of their set before playing his own as they opened for him in 1996. There's two things about this version that make it stand out, one is the all new guitar riff to introduce the song, adding another edge to the song. The second is the harmony that Bowie provides on the chorus making the words flow in much more melodic fashion.


The piano based version from the Beside You In Time live film; if you prefer piano to guitar then this bonus will probably be preferable, that's more of an arbitrary preference though. Another benefit of a live version to this particular song is how authentic Reznor's vocals sound to the mood of the song, sounding somewhat tired and out of breath toward the end of the set. Another difference between this and the studio is the conclusion is cleaner and for my money is an improvement as opposed to the distortion of the original, meaning the whole band coming in on the last line has more impact.


So it turns out Leona Lewis covered this song. Wait, what? No and no. Leona Lewis voice does not fit this song whatsoever, and the production sounds daft; it would fit your average Leona Lewis song but does not match the decorum a song such as Hurt merits. Also most of the second verse and chorus is cut for some reason. Honestly, it's as baffling a choice for a cover version as you'd expect, and given its shoehorning into Lewis' style, you have to wonder why they bothered.


Eddie Vedder from Pearl Jam performed the song live in Chicago in 2008. Sadly it's surprisingly unremarkable, recommended only if you really enjoy the sound of his voice. Depending upon the acoustic guitar put's him right up against Cash, and he's someone difficult to beat when that's all you have with your vocals.


It is thanks to my good pal Ben that I heard the version reimagined by choral composer Eric Whitacre at Union Chapel in London a few weeks back and good grief does it capture the haunting nature of the song. The last few lines are dropped, but that can be forgiven, seeing as it takes the best part of seven minutes.


I'm inclined to say this version from the Vevo Presents concert is my personal favourite. The ethereal feel of the chorus really appeals to me, and there's something about that slightly quirky sounding piano coming in on the chorus that sounds beautiful. With this and the retention of all the benefits of the Beside You In Time version, here is the best version of Hurt by Nine Inch Nails.

Portishead, Sonic Youth, Cherry Ghost, Delphic: More Album Reviews

Third - Portishead
So for the sake of completing my triumvirate of reviews for the Bristol group's three albums, my thoughts on Third. Compared with the other two LPs this has a much more varied, experimental theme; particularly producing more industrial feeling sounds. For instance if you like beeping to introduce a song (which I'll accept won't be found be melodic by everybody) you'll love 'We Carry On' and 'Magic Doors'. At only 93 seconds long, the folkish 'Deep Water' is certainly an odd fixture in the album in between 'We Carry On' and the anthemic 'Machine Gun' but such variety is idiosyncratic of Portishead, who with all of these boxes ticked still find time to close with a return to classic trip-hop form with closer 'Threads,' which could be a James Bond theme in my opinion, but having said that there's a litany of things which would be better than Adele's and Jack White's recent attempts. 'Silence' introduces the album with an immense buildup moving from drums to an alarm like eeping into strings and guitars. This progressive sound creates a spectacularly ominous atmosphere, nearly everything drops for the desolate and shaky vocals of Beth Gibbons for a verse until the two duel for the rest of the song.


Goo - Sonic Youth
It was always going to be difficult to follow up one of alternative rock's most esteemed albums in 'Daydream Nation' but to me, 'Goo' surpasses it, channelling longer songs like 'Teenage Riot' rather than the short, impactful songs like 'Silver Rocket.'
If Thurston Moore would have died after the recording of this album I have no doubt he would be the revered icon that Kurt Cobain is in alternative music (particularly having married Kim Gordon as opposed to Courtney Love), but like Stewart Lee discussing Bill Hicks: the hardest thing is to put out new stuff every year, gradually decreasing the quality of your own obituary.

Having said that there's shorter cacophanous interludes like 'My Friend Goo' and 'Scooter + Jinx' that are just odious and don't connect the more moderate, tolerable noise rock moments that make up the fabric of the longer tracks. The first two tracks sound really sweet; the delicate opening riff from 'Dirty Boots' and 'Tunic (Song for Karen)' which despite opening with a stabbing guitar vibe winds down into a settled song with Kim describing Karen Carpenter in Heaven with Elvis, Janis Joplin and Dennis Wilson. My pick of the album is 'Mote' which has a wonderfully intense atmosphere and is one of the rarer moments when Lee Ranaldo leads; an anthem in its first half and a descent into a chaotic noise rock instrumental in its second.


Beneath This Burning Shoreline - Cherry Ghost
The second album from the Boltonian band led by Ivor Novello award winner Simon Aldred, 'Beneath This Burning Shoreline' revisits the feel of the tenebrous Northern town that made 'Thirst For Romance' a success. Again Aldred has an effective poetic style and unusual imagery such as in 'Black Fang' the lyric 'Be my backstreet kisser and I will be your Golden Mile' is not only evocative, but conveys something ineluctably Northern also(the Golden Mile being part of the beach front in Blackpool to those eluded by that reference); the inertia in life's progression being an essential trope in the fabric of the LP. 'The Night They Buried Sadie Clay' paired with the next track 'My God Betrays' is the most caliginous corner on the album, describing the eponymous woman being found cold with a bottle by her bed, in dire contrast to the titilation experienced from the briefest intimate encounters experienced in youth and the 'done for dream' mentioned later on again touching on the near-futile attempts to escape isolation heard throughout the album.


Collections - Delphic
Delphic's debut 'Acolyte' is an album I very much enjoy, so when I got 'Collections' I had high hopes and was lamentably disappointed. To me the energy that characterised their first LP just isn't heard here, the longest song (Atlas) is only 6:05 and doesn't build up to anything; when the lyrics aren't too strong, they really haven't given much to carry the album and this happens far to many times. There are still some cool sounds to be found listening to this, 'Baiya' being a cool pop track, scratching the itch that 'Doubt' did last time around.
'Memeo' is easily one of the most pleasant things I've heard in recent memory and ought to be longer than three and a half minutes.