May 132016
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Moon River Audrey Hepburn

“Moon River” has been recorded over five hundred times. Clearly, there’s something universal about the song. It has touched a great number of people, and artists across a diverse range of genres have given it a shot. What is it about this song that causes such a reaction?
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Apr 292016
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

korgis

The Korgis really were an extraordinary group. With a name derived from the name of ubiquitous ’80s synthesizer makers Korg, they evolved out of the eccentric and often unclassifiable ’70s UK band Stackridge, at a time when fashion demanded shorter and hookier songs, shorter hair, skinny ties, and shiny suits, i.e. the ’80s. Stackridge were resolutely unfashionable and nominally prog, although their music could be an odd amalgam of twiddly instrumentals, folk, psychedelia and music hall. Their instrumentation could include anything from flutes and fiddles to dustbin lids, and bear tribute to the days when record companies had money to invest in the sometimes vainglorious pursuit of a hit, allowing a band to mature over several albums, rather than today’s one strike and you’re out.
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Apr 222016
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

mia

“Paper Planes” was the penultimate track on M.I.A.’s second album Kala; it took thirteen months from the album’s release for the song to peak at #4 on the Billboard Hot 100. Guaranteed no other paper planes have flown so high and so far for so long. Riding a sample from “Straight to Hell” by the Clash (who are rightfully credited) and a chorus borrowed from “Rump Shaker” by Wreckx-N-Effect (who aren’t), the song had as great an impact on 2008 as the gunfire in its chorus. Critics fell over themselves praising the record’s sound, somehow both chaotic and serene, and its message, a sort of “Money (That’s What I Want)” gone global for the 21st century.

Now that the dust “Paper Planes” stirred up has settled back down again, let’s take a look at some of the covers it inspired…
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Apr 132016
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

jackson browne nico

“These Days” was written by an old soul of sixteen, Jackson Browne, several years before he released an album of his own. The melancholy ballad was originally released on the 1967 album Chelsea Girl (a reference to Andy Warhol’s 1966 film Chelsea Girls) by the singer-songwriter, lyricist, composer, musician, fashion model, actress, and ’60s counterculture queen, Nico. It may have been Browne’s song, but Nico was the first to put a stamp on it, and her stamp was an indelible one.

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Apr 012016
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

BillW

There’s talk that “Use Me,” from Bill Withers’ second album Still Bill, is about his relationship with his future wife (and, a year later, ex-wife), Hollywood actress Denise Nicholas. Withers denies this, saying he got the idea for the song before his first album, while he was still making toilets for $3 an hour. Most listeners didn’t care about its origin – they were too busy digging that funky clavinet, nodding along to lyrics that brush against masochistic tendencies while defiantly stating that one could be willing to take the bad with the good, because that good was so good. It sure felt good, especially the Live at Carnegie Hall version, so deep in the pocket that the clapping-along audience doesn’t want it to end, demanding (and getting) an immediate encore.
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Mar 072016
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

blacksabbath

“War Pigs,” originally titled “Walpurgis” (defined as “Christmas for Satanists” by Black Sabbath bassist Geezer Butler), is the first track off Black Sabbath’s second studio album, 1970’s Paranoid, and is regarded by Guitar World magazine as the “greatest Heavy Metal song ever.”

The slow gravitational pulling power chord intro creates an atmosphere of an apocalyptic wasteland. The rolling darkness and muffled air-sirens continue until they are quickly halted with the most spine-tingling, D to E power chord transition in heavy metal history, not once, not twice, but thrice! Ozzy Osbourne gives us a piercing belt of “Generals gathered in their masses / just like witches at black masses,” and Toni Iommi continues the pattern after every Ozzy verse until Iommi’s power chords evolve into a wicked guitar riff. Bill Ward comes crashing in on drums, Geezer Buttler starts pounding his bass, and before you know it, you’ve bypassed “Luke’s Wall” (the song’s instrumental outro) and you’re riding shotgun with Lucifer on a thrill ride through hell.
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