Seuras Og

Seuras Og is an old enough to know better family Dr in Birmingham, UK, having taken the easy option of medicine upon failure to get work in a record store. By now drowning in recorded music, he has thought it about time to waste the time of others in his passion here, as well as in his own blog, www.retropathology.blogspot.com

Jul 142017
 

If you are a regular reader of this site, you may remember this post from a couple months back, about the (to my ears) hotly anticipated shared project between English folkstrel Olivia Chaney and Portland quirkmeisters the Decemberists. Well, the lovely people at Nonesuch have now released Offa Rex’s The Queen of Hearts, and mighty fine it is too.

Chaney may not be especially well known to many, unless you were lucky enough to catch the last round of occasional Joe Boyd-curated Nick Drake tribute shows, featuring a host of singers and musicians from varied sources. Chaney was undoubtedly one of the stars of the one I saw, alongside company like Glen Hansard and Sam “Iron and Wine” Beam. This led me to her 2015 release, The Longest River, which I can commend. The Decemberists are much better known and have long been drawn to the canon of trad.arr., especially singer Colin Meloy. Indeed, one might surmise the seeds for Offa Rex were sown by a tour-only EP Meloy produced in 2006, Colin Meloy Sings Shirley Collins. Indeed, Meloy says he invited Chaney to the table by suggesting in a tweet that his band be her Albion Country Band. Queen of Hearts shows them not making a half-bad shot of it, with side-orders aplenty of Fairport Convention and Steeleye Span, not to mention a little of fellow U.S. travelers 10,000 Maniacs on the keyboard swirl of “Bonnie May.”
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May 122017
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Blood on the Tracks

Tired of hearing hoary old crooners covering hoary deceased crooners? Try this as an antidote. 1975’s Blood on the Tracks was Bob Dylan’s fifteenth studio album, and is usually in the critical running for his best, vying with the earlier Blonde on Blonde (covered here). (Of course, whenever a new Dylan record is released, it is compulsory to be proclaimed as a “return to form,” that status seldom lasting until the ink dries and Blonde or Blood regains its rightful pole position.) Let me go on record here: Blonde is a bit meh, with rather too much filler for my tastes, so it is always Blood for me.

Blood on the Tracks was also my first full immersion in Bob, Greatest Hits not quite counting. See, a pal o’mine had access to discounted CBS recordings, half price if I recall. I had my eye on a witchy boho girl, like me newly arrived at University. She had her eye on my discount and, beyond a serious 40 minutes of otherwise silence, as we listened to my purchase of Blood, a prompted and suggested gift for her, that was that. She thanked me, apologized for giving me the bum’s rush, but she had to go out, you see, with the flash harry further along the corridor. I was so hurt, my emotions imbued by and immersed in Bob’s own heartbreak, that I bought a second copy. Probably full price, too.
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Mar 102017
 

Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.

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Until 2010’s Scratch My Back appeared, Peter Gabriel had been an artist more covered than covering – arguably a pity, given the cracked wistfulness of his croaky beauty. But I guess if you can write material of the quality and diversity that he has, why bother with someone else’s material? The problem was, Gabriel hadn’t been writing that kind of material – this was his first album in eight years.

So was Scratch My Back just, as covers projects can so often be, a stopgap sales pitch to keep his brand alive during a creative lull? Who knows? I think not and hope not, feeling this a deliberate if somewhat failed experiment on two levels. Flawed, maybe, rather than failed.
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Feb 162017
 

Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.

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Seuras Og is 59 and ought to know better. Tipped toward journalism by his careers teacher, he instead opted for a career in Family Medicine. He lives in Lichfield, England. His Gaelic mother would be proud to see his nom de plume, a direct translation. Less proud that he is still talking about pop music in his 60th year. This is his 3rd year of writing his essays for Cover Me. He particularly enjoys drafting whole album covers like Legend or Hunky Dory.
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Dec 052016
 

bluelonesomeI can’t believe you won’t have already read or heard at least a hundred reviews of Blue & Lonesome, an 11th-hour reprieve for the best rock and roll band in the world, burning up column inches and airspace across the world. And all so uniformly and fawningly good, too. Where are the naysayers? Well, not here, I fear, for this is the real deal.

It’s true, from when it was first announced, I so wanted and wished it to be good, because I am a Rolling Stones fan, even (well, mostly) through the years of drought. Then, as the promo reviews were released, I faltered – could it really be so? Yesterday morning it arrived on my doormat and my anticipations soared. First track in, “Just Your Fool,” and I knew it. The Stones have cracked it. Combined age et cetera et cetera, laughter lines and all, bang bang bang, easy, job done.
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Oct 252016
 

John Scofield Country for Old MenOK, let’s not mess around, but is this not the best title of the year, that alone nearly enough to nail it for me as an essential purchase? And John Scofield has the billiest billy goatee ever on the sleeve, delineating this is one cool (old) dude. (Actually I was quite disappointed he is only 64.) But don’t get carried away here, this is not country music in any received sense of the word, country in anything other than the songs, which are all instrumental, suggesting some knowledge (and love, probably) of their original. And these versions take the merest slip of melody and fire it up into the sky, a 52 card pick-up, a melange of a snippet here and a snippet there into a, yes, damn it, hard jazz explosion. I know I have now lost most readers with the J word, it seldom getting much of a shout in these pages. But maybe this is the day someone takes a chance. So come on in, the water’s lovely.
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