The Spotify video series Music Happens Here is a must-watch for music lovers. Each episode takes the viewer on a hot tub time machine journey to many of the most famous music cities in the world. Seven episodes in, it spans the landscapes and soundscapes of Los Angeles, London, New Orleans, Seattle, Chicago, Nashville, and, most recently, New York. The producers do a terrific job in showcasing the past, present, and future of each individual music scene. The New York episode, in particular, is a diverse affair that features the Hip Hop beats of A$AP Rocky, the dirty boulevard vibe of CBGB’s, and angel flight wearing pulse of 1970s disco at Studio 54, with side trips to The Dakota and The Fillmore East.
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
It’s been a few weeks since we lost Tom Petty. A few weeks since one of the major music artists of my teenage years left this world. I can vividly recall so many memories of driving with my boyfriend in his old brown Toyota…listening to “Wildflowers,” “It’s Good to Be King,” “Free Fallin,” “I Won’t Back Down.” The simple chord progressions and repetitive chorus lines perfectly capturing the spirit of a wild (and internet-free) childhood. In that simplicity, Petty was able to create hit after hit that would span generations.
As we covered a few weeks ago, the soundtrack for the Amazon original show The Man in the High Castle is chock full of big names covering classic songs. The album is out now, and one of the highlights is Beck covering Elvis’ “Can’t Help Falling in Love.” Like many of the songs mentioned previously, Beck didn’t get too adventurous on this number, opting to stick with what worked the first time.
Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.
Mike is back in his hometown of Cleveland after many years away. His return was not necessarily the reason the Cavs won the NBA finals, but it hasn’t been ruled out. He’s been writing his essays for Cover Me since 2011, 4 states ago. He still thinks the Counting Crows do a damn fine cover and he loved being part of the crew that got to find the best Bob Dylan covers for Dylan’s 70th birthday.
They say nostalgia works in 20-year cycles, and this year the music of 1996 has been in the media a lot. And if you believe the music blogs, it turns out 1996 was a truly groundbreaking year for every possible genre. Over at SPIN: “The 96 Best Alternative Rock Songs Of 1996.” Complex: “Best Rap Songs of 1996.” Junkee: “Ten reasons 1996 was a great year for dance music”. Loudwire: “10 Best Metal Albums of 1996.” Red Bull Music: “1996: Why it was a great year for pop”. Suck it, 1995! (Kidding; similar articles were of course written last year too.)
We’ll be honest: 1996 was not some magical, pioneering year for cover songs. It was also not a terrible year. It was just, you know, another year. There’s no overarching theorem of 1996’s cover songs that wasn’t true in ’95 or ’97. But even so, Cover Me wasn’t around in 1996, so we never made a Best Cover Songs of 1996 list (our first year-end list came in 2009, with the Kings of Convenience’s “It’s My Party” topping it, and you can catch up on all the lists here). So we decided, before the year ends and we take our look at the best covers songs this year, why not take a nostalgic rewind and do 1996 just for fun, twenty years too late.
Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
I was fifteen years old when I was first introduced to the world of Infinity Cat Recordings. I was immediately enamored with the punk DIY aesthetic presented by a group of young Nashville punks. When I say “young,” I mean YOUNG. Like only a few years older than me at the time young. Brothers Jake and Jamin Orrall, in their late teens at the time, formed the indie label with the guidance of their father in 2002. A host of psychedelic and grunge-tinged punk bands emerged from the label right from the get-go, leading publications like The Guardian and Billboard Magazine to name it one of the best indie labels in America. JEFF the Brotherhood, a two-piece psychedelic garage-rock band also formed by the Orrall brothers, acted as a sort of nucleus for the label, guiding the overall sound and feel of the rest of the bands that make up the collective.
In a way, the band has always been a source of centering for myself as well. Maybe they aren’t guiding my life choices, but they do have a way of bringing me back to my suburban teenage rebellion years – a time when I was determined to take the world by storm and (pardon my French) fuck shit up, Nashville punk style. JEFF The Brotherhood serves as a reminder to do what I want, and how I want to do it. Every now and then, I will go back to one of their first singles, Noo Sixties, and be reminded of that seemingly contradictory hard-working-punk ethos.