A few months ago, we did a “Full Albums” post with covers of every song off Amy Winehouse’s breakthrough album Back to Black. For the title track, we picked a very slow and strange version by Banjo or Freakout. Now there’s a new cover that gives it a run for its money – equally slow but much more melodic.
Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
Last night, to the surprise of no one, that Academy Award for Best Documentary went to the Amy Winehouse movie Amy. The movie, as is typical for these things, is more about the personality than the music; producers seem to think public breakdowns make for better visuals than the nitty gritty of work in the studio (a premise with which we strongly disagree). But still, if it gets some young Adele fan who wasn’t around for Adele’s predecessor to give Back to Black a listen, another exhaustive look at Winehouse’s demons was perhaps worth it.
We, however, are all about the music, which we celebrate today with the latest in our series of Full Album cover sets. Though as is always the case the big hits have way more covers than the deep cuts, it’s a testament to how deep the album’s bench is that every song has been given at least one cover worthy of Amy’s talent.
Kanye West‘s latest G.O.O.D Music signee, Chicago artist Nigel Holt, (formerly “Hollywood Holt”) releases an angst-ridden and synth-laden covers collection titled Cover Me (editor’s note: good title!) featuring remakes of artists ranging from the late Amy Winehouse to indie acts such as Florence + The Machine and the Neighborhood.
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.
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
The 27 Club is one of the most enduring legends of rock and roll apocrypha, and although the member list is distinguished, no one’s really clawing to get in. It refers to the peculiarly high number of prominent musicians who died at the age of 27 – blues legend Robert Johnson, Jim Morrison, Big Star’s Chris Bell, Janis Joplin, Jimi Hendrix, Rolling Stones founding member Brian Jones, and Kurt Cobain, amongst (too) many others.
In 2011, the club expanded its membership yet again with blue-eyed soul ingénue, Amy Winehouse.
A year after the sudden passing of Amy Winehouse, Q Magazine dedicated an issue to looking back at her life and music. They accompanied their tribute with a collection of covers from Winehouse’s Grammy-winning sophomore album Back to Black. Bands like The Cribs, The Temper Trap, and Dry the River contributed to the album, as did London’s Saint Etienne, who chose to cover “Just Friends.”