In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.

Where I come from, Shel Silverstein was a demigod. —David Mamet

Shel Silverstein was the unofficial poet laureate of everyone’s childhood. His books — The Giving Tree, A Light In the Attic, Where the Sidewalk Ends — were instrumental in showing that kids could handle some of the adult themes in life without becoming degenerates, or maybe even that it was okay to be a degenerate. That’s not to say the bluenoses didn’t try to stop him: A Light in the Attic placed midway in the top 100 books banned from the 1990′s. Some bristled at Silverstein’s adult side, even though he saved his more salacious material for songs and adult poems that weren’t meant for children. That material is definitely a product of the sixties and seventies, detailing everything from every sexual fetish imaginable (“Freakin’ At the Freakers Ball”) to every drug available (“The Perfect High”). Some of it we’ll feature today, the 14th anniversary of his death (or at least of the day they found his body).  Read on. Continue reading »

Breakfast At Your Place knows how to have a good time. The French group has a very tongue-in-cheek attitude and this is apparent with their latest cover of Gorillaz “Clint Eastwood.” Continue reading »

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

“Sam Stone,” from John Prine’s self-titled 1971 debut album, is considered one of the most depressing songs ever written. We’re not talking my-baby-left-me depressing here, understand; this is a song about a wounded war veteran suffering from PTSD and a heroin addiction, who grows remote from his family and winds up dying alone, with a chorus couplet so devastating (“There’s a hole in daddy’s arm where all the money goes / Jesus Christ died for nothin’ I suppose”) that even Johnny Cash flinched at it, altering the words in his own cover. When the Man in Black can’t bring himself to sing your lyrics, you know you’ve touched a nerve.
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The word “supergroup” is thrown around when two or so well-known musicians band together to form a new group. Girl Crisis, which is made up of Chairlift’s Caroline Polachek, Au Revoir Simone’s Erika Spring, Class Actress’ Elizabeth Harper, TEEN’s Jane Herships, and many other talented ladies residing in New York City, should probably be referred to as a super SUPERgroup then, due to the sheer amount of talent squeezed into one tiny space. Literally. The women came together for their summer cover (which is always of a female artist; men are reserved for the winter) to take on the Bangles “Walk Like An Egyptian.” 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!

It must be amazing when singers realize that their voices sound particularly good together. Think of The Roches, the Everly Brothers (who have the benefit of being siblings), Crosby, Stills & Nash, Exene Cervenka and John Doe, Gary Louris and Mark Olson, or Jonatha Brooke and Jennifer Kimball. One can imagine the joy that Amy Ray and Emily Saliers felt when they realized that they had something special when they harmonized. Continue reading »

The second of this year’s A.V. Undercover bands to shy away from “No Diggity,” Thao & The Get Down Stay Down opted instead for what they considered the sexiest song on the list – “Need You Tonight” by INXS. They take on the song without irony, but also without an overt subscription to one decade’s style or another. Rather, they fantastically blend the fuzzy grittiness of today’s indie and indie-pop with the neon nightclub feel of the original. It’s a wonderful new entry to the series. Enjoy. Continue reading »

There are a few go-to songs that everyone (save the diehard fan) associates with OutKast - fewer still are the songs that make the oft-covered list. All of which makes it that much more of a pleasure to see Tame Impala covering “Prototype,” off of André 3000‘s half of 2003′s Speakerboxx/The Love Below. 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!

Warren is a profoundly mysterious man, and I have learned not to argue with him, about hockey or anything else. —Hunter S. Thompson

The fact that Hunter S. Thompson was a friend of Warren Zevon’s really shouldn’t surprise anybody: his crazy songs of headless mercenaries and KGB waitresses sound like Fear and Loathing on vinyl. Starting out as a songwriter for groups such as the Turtles in the ’60s (he said that the B-side he wrote for “Happy Together” paid his rent for years), Zevon struggled with his own songwriting identity until releasing his Jackson Browne-produced eponymous album in 1976, and its follow-up, 1978′s Excitable Boy. Although never really recapturing the fire that those two albums kindled for him, he went on to have sporadic success between long bouts of drug and alcohol addiction, and became known for his rambunctious live shows attended by equally rambunctious fans. Continue reading »

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