I first became aware of Mato due to his excellent reggae remix of Mayer Hawthorne’s hit cover of The New Holiday’s ‘Maybe So, Maybe No’. I delved a little deeper and found many more re-fixes and re-jiggles he had done. His speciality involves taking the acapella of many a hip-hop classic and giving it a new life with a fresh reggae/dub bedding.
This summer may be halfway over, but that doesn’t mean there still isn’t time for some choice sultry, hot nights. Los Angeles duo Night Club knows this, and as a teaser for their upcoming EP Black Leather Heart, they have released this fun, synth-laden cover of INXS‘s “Need You Tonight.
Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
Before it was a depressing award-winning movie… before it was the name of a one-hit-wonder band… “Boys Don’t Cry” was the title of the Cure’s angstastic second single. The story of a boy with an aching heart who refuses to appear vulnerable under any circumstances has a dry spareness to it, but the guitar has as catchy a hook as you’ll find on the band’s later, lusher work.
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
The 27 Club is one of the most enduring legends of rock and roll apocrypha, and although the member list is distinguished, no one’s really clawing to get in. It refers to the peculiarly high number of prominent musicians who died at the age of 27 – blues legend Robert Johnson, Jim Morrison, Big Star’s Chris Bell, Janis Joplin, Jimi Hendrix, Rolling Stones founding member Brian Jones, and Kurt Cobain, amongst (too) many others.
In 2011, the club expanded its membership yet again with blue-eyed soul ingénue, Amy Winehouse.
The only other band that immediately come to mind when I was thinking of covers of this Buddy Holly original was by some small one-hit wonder band from Liverpool called The Beatles (apologies if you haven’t heard of them, I don’t think they broke out of the local scene). So, not much to live up to then.
In high school, a friend and I drove two hours to a blues festival in rural Maine one Saturday. When we got to the gate we found tickets to be well outside of our meager budget, but there was only one artist we’d wanted to see anyway: Johnny Winter. So we found a low fence we could peer over, and sat, and waited.
In the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!
Matthew Sweet’s career is a textbook example of what happens if you are exceedingly good at something that is not considered to be cool. In this case, that thing is the musical genre of “power pop.” Sweet is almost universally considered to be a master of the genre (usually defined as being a cross between hard rock and pop, with serious Beatles influences), and his best album, 1991′s Girlfriend, is generally considered to be a masterpiece, even by people who generally look down their noses at “power pop.”
As a result, Sweet is a cult hero to some critics and fans who appreciate the tight, hook-filled yet intelligent songwriting that typifies the genre, while remaining unknown to the masses who may – may - have heard one of the two or three Sweet songs that occasionally sneak into a radio or streaming playlist. Of course, the music geeks who write for Cover Me are Sweet fans; we’ve featured his cover work repeatedly, even giving him a birthday tribute featuring covers of his songs by other artists. But never before has he received the sort of career-affirming fawning adulation that can only be found in an “In the Spotlight” feature.
Pat Benatar‘s “Love is a Battlefield” is indelibly linked to the ’80s, both because anyone who grew up in that era couldn’t escape its broad reach and because of the decade’s stereotypical flourishes found throughout the song: synths, reverb, and melodrama. Despite the fact that it hasn’t aged particularly well, Benatar’s powerful and emotive voice is enough to make it worth keeping on your iPod, even if you only listen sparingly. It’s the sound of young love and desperation. Although the new version by Wrongchilde is very different in sound, that essence of desperation remains.