“Everyone’s Gotta Learn Sometime” is a song that resonates across generations, a testament to its poignant melody and universal theme. Originally released by The Korgis in 1980, this track has enjoyed a remarkable journey, becoming a beloved classic despite the band itself fading into relative obscurity. The Korgis, formed from the remnants of the progressive rock band Stackridge, might have seemed out of sync with the burgeoning new wave scene, perhaps a bit too seasoned for the youthful energy of the era. Yet, “Everybody’s Gotta Learn Sometime” defied expectations, climbing the charts to number 5 in the UK and number 18 in the US. Even today, it remains a radio staple, a familiar tune even if the original artists are not. This enduring popularity is partly due to the song’s inherent versatility; it’s a blank canvas inviting countless reinterpretations.
The song’s structure and emotional core lend themselves perfectly to diverse genres and styles. Imagine a path John Lennon might have explored for Double Fantasy had he not consciously embraced nostalgia – “Everybody’s Gotta Learn Sometime” occupies a similar sonic space, filled with yearning and reflection. This inherent adaptability is evident in the wide range of covers it has spawned. From Baby D’s breakbeat house rendition to Yazz’s adult-contemporary dance-pop take and Zucchero’s dramatic Italian rock version, the song has proven its chameleon-like ability to transform while retaining its emotional essence.
Jon Brion, the producer criticized for his work on Beck's cover of 'Everybody's Gotta Learn Sometime', pictured with a variety of instruments.
Beck’s 2004 rendition for the Eternal Sunshine of the Spotless Mind soundtrack stands out as a particularly compelling interpretation. Collaborating with Jon Brion, Beck strips the song down to its emotional core. It begins sparsely, with Beck’s deep, mournful vocals accompanied by electric piano. The subtle entry of bass and electric guitars, followed by muted, 70s-esque drums in the first chorus, creates a sense of intimacy and vulnerability. Gone are the sonic embellishments of the Korgis’ version – the delays, echoes, electric sitar, and icy synths. Instead, strings replace these elements, adding a layer of cinematic melancholy. This is not the playful, genre-bending Beck of his earlier work; this is a sincere and invested performance, highlighting the raw emotion within the lyrics.
However, the production choices, particularly by Jon Brion, introduce a somewhat discordant element in the latter half of Beck’s version. While the first 2.30 minutes are powerfully evocative, the extended instrumental coda feels somewhat indulgent. It’s as if Brion, known for his maximalist approach, couldn’t resist layering in a collection of keyboard sounds, guitar effects, and carnival-esque noises. This sonic layering, reminiscent of his work with Aimee Mann and Fiona Apple, while interesting in isolation, detracts from the song’s mood. A more restrained approach, focusing on the song’s inherent emotional depth, would have arguably served Beck’s excellent vocal performance more effectively.
Despite these production criticisms, Beck’s interpretation of “Everyone’s Gotta Learn Sometime” remains a powerful and moving experience. His vocal delivery captures the song’s vulnerability and yearning perfectly, ensuring that even with a somewhat overproduced ending, the track retains its emotional resonance. This cover, alongside countless others, solidifies “Everyone’s Gotta Learn Sometime”‘s place as a timeless song, forever ready to be rediscovered and reinterpreted, proving that its message of learning through heartbreak is perpetually relevant.
