“You’ve got to know when to hold ’em/Know when to fold ’em” might be one of the most recognizable choruses of the last 50 years. Even people who don’t know the song “The Gambler,” know those lines.
On March 20, the world learned of the death of the singer most associated with those words, Kenny Rogers, who passed away at the age of 81. As with a star of his caliber, his death was greeted with a major outpouring of condolences across the celebrity world and lengthy obituaries in most major news outlets. Very few publications mentioned the one tidbit we here at Cover Me are most interested in: the fact that Rogers’ version of “The Gambler” was a cover.
Follow all our Best of 2016 coverage (along with previous year-end lists) here.
2016 in music will be most remembered for one thing: death. It seemed like an unprecedented list of major musical figures left us this year: David Bowie, Prince, Merle Haggard, Leonard Cohen. The list, sadly, goes on and on.
Prominent passings affect many aspects of the music world, but the impact is particularly clear in the world of cover songs: When an artist dies, a lot of people cover his or her songs. The world was hardly hurting for Prince covers before April 21, but afterwards, to paraphrase the man himself, we went crazy. Bruce Springsteen alone became a one-man tribute machine, covering Bowie, Prince, The Eagles’ Glenn Frey, and Suicide’s Alan Vega after they died (it’s a shame his tour ended before Cohen passed because he’d do a great “Everybody Knows”). Our list this year features a number of these tribute covers – though both the Cohen covers listed were actually released before his death, proving there’s no need to wait to honor one of the greats.
Our list also features fantastic final covers by the recently departed, brilliant song-interpreters like Sharon Jones and Allen Toussaint. The fact that they died may add extra meaning to these new songs, but they’d make the list regardless. Whether they performed wonderful covers or wrote wonderful songs for others to cover, we miss these artists because they were great. They don’t need any “death bump.”
The year wasn’t all dire though. Our list features many covers by and of artists who are alive in every sense of the word. Kendrick Lamar and Drake represent the new world of hip-hop, Kacey Musgraves and Sturgill Simpson in country, Animal Collective and Joyce Manor in indie rock, and in too many other genres to name. Jason Isbell currently holds a streak here, making his third consecutive appearance this year.
We also have plenty of artists whose names I won’t highlight here, because you probably won’t have heard of them…yet. We’re not in the business of predicting fame – the music industry is far too fickle for that – but some of our past best-cover winners have gone on to big things this year, like Chance the Rapper (2014 winner) and The Weeknd (2012 winner). Hell, Sturgill (#3 in 2014) just got an Album of the Year Grammy nomination!
Those early covers may have helped kick off such success. A revelatory cover song can help a musician attract early attention. When I interviewed Mark Mothersbaugh recently, he said no one understood what Devo was doing until they covered “Satisfaction.” A familiar song done Devo-style finally made the connection for people. “Whip It” and other original hits would not be far behind.
Maybe some of this year’s under-the-radar names will go on to Weeknd-level superstardom. But even if they don’t, all these covers, by household names and Garageband geeks alike, deserve recognition. We’ll miss all the great musicians who left us this year, but it’s gratifying to see so many promising younger artists coming in to fill their shoes.
– Ray Padgett, Editor in Chief
(Illustration by Sarah Parkinson)
PS. Last year in this space, I mentioned I’m writing a book about cover songs. Well, Cover Me (the book, that is) is finished and will be out next year! In addition to the aforementioned Mothersbaugh, I interviewed Roger Daltrey about “Summertime Blues,” David Byrne about “Take Me to the River,” and many more. Follow our Facebook for updates on preorder, etc. Now, on to the countdown…
Follow all our Best of 2016 coverage (along with previous year-end lists) here.
We’ve done a Best Cover Albums list every year since 2009. That list usually ends up being a reasonably even mix of various-artist tributes and single-artist records. But in all those lists, our number-one pick has been, without fail, a single-artist album (for those keeping score at home, we’ve awarded The Lemonheads, Peter Gabriel, Baaba Kulka, Neil Young and Crazyhorse, Xiu Xiu, Andrew Bird, and Bob Dylan – who didn’t turn up to accept our prize either).
This single-artist streak is no coincidence. It is naturally easier for one artist, if he/she/they are good enough, to maintain consistent quality control over 10 or 15 tracks. Whereas even the best mixed-artist tribute records usually have one or two dud tracks. Take the National-curated Day of the Dead, certainly this year’s highest-profile tribute album. Some of these Grateful Dead covers were so good they’ll appear on next week’s Best Cover Songs of 2016 list. Many others were dreck, filler, or superfluous. So we ranked the record – spoiler alert – at #20, sort of an honorable-mention position.
Even various-artist tributes comprised of uniformly good covers typically don’t add up to more than the sum of their parts. For example, we ranked MOJO Magazine’s Blonde on Blonde tribute pretty high this year because we liked just about every one of the Bob Dylan covers on offer. But there’s little common ground between an aggressive electronic “Rainy Day Women #12 & 35” and a tender folk “I Want You.” The record is more a bunch of great cover-song fodder for mixes and playlists than a truly great and unified album.
I sound like I’m being critical, but again, these are among the best cover albums of the year. This is usually the most a various-artist tribute album can aspire to: more good covers, few bad ones.
But this year, for the first time in our eight years making these lists, a various-artist tribute album rose so all the way to the top. This album was not only good top to bottom, but it felt like a real album, not just a collection of covers. It ably walked the finest of lines: showcasing diverse approaches to the source material while just remaining cohesive enough to stand together as a complete listen.
I don’t want to give away what that number-one album is just yet. We’ll get there, and there’s already enough of a tendency with year-end lists to skip straight to #1 and ignore the rest. I no doubt have not helped by hyping this magical album that broke our eight-year streak. But every one of the twenty albums we picked offers something worth hearing.
We’ve got jazz-sax forays through prog-rock and twee-pop covers of vintage punk tunes. There’s a ’60s New York icon honoring her then-competitors in the British Invasion, and a band from that same British Invasion honoring their American inspirations. There are tributes to great musicians who died this year, and tributes to long-dead musicians who there’s no news hook for honoring now, just great songs.
This list itself is as “various artists” as it can get, a whole array of genres and styles with one common thread: musicians honoring their inspirations and influences. Let’s dig in.
This past weekend, Chris Thile of Cover Me-favorites Nickel Creek hosted his first Prairie Home Companion after Garrison Keillor stepped down. There’s been a lot of speculation over whether fans of Lake Wobegon and “Beebopareebop Rhubarb Pie” will stick around with Keillor gone, so Thile brought out the big guns for his debut, booking Jack White for his first-ever appearance. White sang solo material, Raconteurs, and White Stripes songs in new acoustic arrangements (one with his Third Man labelmate Margo Price) and even played a new cover, of Bobby Bare‘s 1969 country hit “(Margie’s At) The Lincoln Park Inn.”Continue reading »
Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.
Dan Bern should not be under anyone’s radar. Not only is he an incredibly prolific songwriter — only a small fraction of the thousand or so that he has acknowledged writing have been officially released — he is also an artist, a poet, a novelist, a children’s book author, and a filmmaker. His stage banter and lyrics are funny enough that he could definitely do standup. He has written songs for movies and television, and is a pioneer in online performing. He tours constantly, and what with all of those songs, he probably never plays the same set twice. Continue reading »
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 »