The GZA breathes new air and about 140% more lyrics (135 words vs 328 words) into a classic from the ‘70s with the cover of “The Mexican” as a one-off single. The original song by the progressive blues rock group, Babe Ruth, samples Ennio Morricone’s “For A Few Dollars More” from the Clint Eastwood Western set in a Mexican village. In The GZA’s version, we learn a lot more about Fernandez and why it’s a “sad morning”. Continue reading »

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

Tusk‘s reputation as an infamous failure is pretty much cemented at this point. But it didn’t actually fail at all.
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Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

At this point, is there anything about Pink Moon that isn’t legendary? Age of artist: 23. Recorded in two nights. Voice and acoustic guitar, plus one small splash of piano. Not even a half hour long. Dropped off at the label’s office with barely a word. Sank like a proverbial stone upon release. Two years later, it was the artist’s turn. Then the pilgrimages to his home began, from listeners all over the world who’d connected with his songs. And then, two decades later, a show of hands in an ad agency office. All in favor of using the Church’s “Under the Milky Way” to score this car commercial? All in favor of Nick Drake’s “Pink Moon”? In the end, Nick Drake won (read more about the making of VW’s Cabrio ad from adman Shane Hutton in the comment section here), and in the very end, his work finally introduced to millions, he won again.
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Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.

OK, where do I begin? Cover Classics is the name of the game, yet few, perhaps, would accord Annie Lennox’s Medusa that status, at least not within the world of critics, who, by and large, were damning, back before it became the norm to decry the later efforts of Ms. Lennox. This isn’t an In Defense piece, so I am not required to address her current standing (to some relief), yet I want to. So what to say of an artist who was once so right, then suddenly so wrong? And is that view still applicable?
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Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Kirsty MacColl was still in her teens when she wrote and recorded “They Don’t Know.” It should have been a major smash, and in a way it was, peaking at #2 on a UK airplay chart; unfortunately, her distributor picked a horrible time to go on strike, which meant the single never got released, which meant it never placed on the sales-based UK Singles Charts. It took Tracey Ullman’s near-soundalike cover four years later to bring the song into the top ten where it belonged. Kirsty helped out with the backing vocals (that’s her a cappella “BAY-ee-BEE-ee!”), and she never resented Tracey for coming up with the brass ring that in a perfect world would have been hers; instead, she said things like “I don’t mind a bit of reflected glory” and “I’m grateful for (her) paying the rent.”
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When John Fahey-esq acoustic guitar virtuoso William Tyler delivered a covers session for Aquarium Drunkard, most of the choices were understandable ones for a fingerpicker: Ry Cooder, Blaze Floley, and a track from a compilation of rare solo guitar performances. The final one was a left-turn though: Blue Ösyter Cult. Specifically, an obscure track called “She’s As Beautiful As A Foot” from their relatively unsuccessful debut LP. Continue reading »

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!

The sun must have been approximately eight inches from my forehead as I wound my way through a crush of warm bodies – all of them panting and glistening in the fierce Texas heat. Perspiration beaded and trickled down the damp necks of an expectant crowd; condensation beaded and trickled down their cans of Lagunitas.

With the first loud and clear ring of an electric guitar, a roar arose from the crowd, and Paolo Nutini strutted onto stage at Austin City Limits – shirt unbuttoned like a golden god of 70s rock, tight pants that might have been painted onto his lithe frame, and a tousled mane that exemplified the definition of “sex hair.”

And then, the man proceeded to take us to church.
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Will Oldham, whose part-time stage name is Bonnie “Prince” Billy, is full of surprises. He became Indie-famous as a soft, introspective folk singer; he’s been covered by and sang with Johnny Cash; he can surprise you with loud rockers; and he even had his video “cover” of Kanye West’s “Can’t Tell Me Nothing” with Zach Galifianakis featured on West’s website. Frankly, it can be surprising to hear him return to his roots with a heartfelt, folksy guitar number, but he recently put together a three-song set for Fogged Clarity that did just that. Continue reading »

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