Last year, Ryan Adams shocked the music world with his earnest track-for-track cover of Taylor Swift’s 1989. Initially, news of the album was assumed to be either a joke or purely inspired by irony, but the finished product was strong enough to land a spot on our favorite cover albums of 2015. Swift responded favorably to Adams’ tribute, but as far as we know she hasn’t gone into the studio to cover any of his songs.
As you may have heard, this year marks the 50th birthday of the Beatles’ seminal album Revolver. We already put together our own tribute album, but the celebration continued this past weekend with another set of covers. For his radio show, Howard Stern collected all-new recordings of every track by some serious heavy hitters, from vets like James Taylor and Cheap Trick to newer buzz bands like Nathaniel Rateliff & The Night Sweats and Milk Carton Kids. And we’ve got every song below.
The Rolling Stones haven’t released an album since 2005, but in December they’ll finally return – and with their first-ever covers album to boot. Titled Blue & Lonesome, the album contains their versions of 12 classic blues songs by Little Walter, Howlin’ Wolf, and more. They’ve snuck a blues cover on LPs here and there in the past (“Love in Vain” on Let It Bleed, “You Gotta Move” on Sticky Fingers) but this is the first time they’ve filled a full album with them. They’ve already released the first track, Little Walter’s “Just Your Fool,” which you can hear below. And this weekend, they performed another album cut at Desert Trip festival (aka “Oldchella”): Eddie Taylor’s “Ride ‘Em On Down,” which they last performed in 1962!
Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
By the time he recorded Rock ‘n’ Roll, John Lennon had been through quite a lot. From the dissolution of the Beatles to the fracturing of his marriage to the ever-present threat of deportation, he clearly had a great deal weighing on him. It was during this same time that he embarked on his legendary “lost weekend” in Los Angeles while estranged from Yoko Ono. Tearing through the city with drinking pal Harry Nilsson, Lennon seemed to fully embrace his chaotic path of self-destruction. While he would eventually come around enough to bring himself out of his increasingly fraught downward spiral, there was a clear spiritual line of demarcation between what came before and what was cut tragically short just a few years later.
It is within this self-reflective/post-self-destructive climate that Lennon embarked on the sessions that would produce Rock ‘n’ Roll. Not only would it represent a return to the music that inspired him in the first place, it also served as a swan song/love letter to fans, as he would, for all intents and purposes, retire from music and the public eye for the next half decade to concentrate on being a father to his son Sean. Because of this, there’s a heavy air of nostalgia at play. From the cover image (John in 1961 Hamburg, with a blurred Paul, George, and Stu Sutcliffe walking past him) down to the track listing, Rock ‘n’ Roll represents something of a mid-life reanalysis of self for the erstwhile Beatle. By returning to his roots, he was able to reassess his own position within and feelings toward the world of pop music.
Scott Bradlee deserves a victory lap. For five years as the founder and leader of Postmodern Jukebox, he’s taken the hits of today and given them the vintage sounds of yesteryear, with the assistance of many very talented friends. His live-in-the-living-room rearrangements have earned him more than half a billion views on YouTube, all without major label support or corporate sponsorship. You would think that The Essentials, a collection of greatest hits, would be an ideal capper to this remarkable achievement.
But there’s still the sense that Bradlee has something to prove – he’s looking to place this album high on the Billboard charts as he takes PMJ on its North American tour this month. “No more talk of Postmodern Jukebox as a ‘YouTube act,’ or ‘online viral sensation,'” he says. “This is real, we’re here to stay, and we’re ready to change the music industry.”
After years as a critical punching bag, Britney Spears has finally been embraced (or at worst begrudgingly accepted) by the cool kids. We’re seeing a lot more Britney covers from the indie world than we used to, and her hits are well-built enough to hold up under a wide variety of interpretations. The latest killer Britney cover comes from San Fermin singer Charlene Kaye, who makes “Oops!…I Did It Again” a whole lot darker.