Given how thoroughly “Old Town Road” dominated the summer – the longest-reigning Billboard #1 in history, for those under-a-rock-dwellers among you – it seems shocking that it took until now for the first truly great cover to emerge. Less shocking: that it came from rapper/singer/drummer extraordinaire Anderson .Paak. Back in May, he performed a more straightforward version with Lil Nas X himself, but for BBC’s Live Lounge he and his band The Free Nationals reinvented it into a soul groove with shades of D’Angelo.Continue reading »
On September 2, 2014, Ray gave the go on my first news article and published it to Cover Me (unbeknownst to him, it was also my birthday). It’s been nothing but great fun working with the crew here and this fall we celebrate our Aluminum Anniversary by asking our team to compile a list of covers they hold dear.
Last year, in preparing to release his experimental new album 22, A Million, Bon Iver’s Justin Vernon held a one-time-only festival/art performance in Berlin. He brought a number of his favorite musicians to hang out and collaborate, performing new music in the round. The festival just posted videos of many of the performances, including a wonderful “Folk Circle” session that features Vernon trading folk songs with Damien Rice, Sam Amidon, Erlend Øye, O, and Ragnar Kjartansson.
Norwegian composer (and half of Kings of Convenience, who released our favorite cover of 2009) Erlend Øye covers The Moore Brothers’ 2004 song “New For You,” followed by our buddy Sam Amidon leading the crowd in a singalong of Appalachian folk song “Johanna The Row-di.” A French singer who goes simply by O sings a traditional French song, Damien Rice breaks the covers theme by playing his own “The Professor & La Fille Danse,” and then we get to the piece de resistance. Vernon plays a song from the man he calls “my favorite songwriter,” John Prine.Continue reading »
Preparing for this past weekend’s “Day of the Dead” concert – the all-star band rendition of The National-lead Grateful Dead tribute album of the same name at Bon Iver’s Eaux Claires festival in Wisconsin – I interviewed a handful of involved artists and kept asking a question that no one knew exactly what to do with. My question: “Given the legacy of the Dead as a live band, what is going to be different about playing these covers live, as opposed to recording them for a tribute album?”
After a thoughtful silence that may have been tinged with a little bit of puzzlement, everyone said something about it being a terrific opportunity to harness the additional energy of having a live crowd.
“No [it’s not going to be harder],” Megafaun’s Phil Cook told me, “mostly because people are just stoked as shit to hear a Dead cover. Whenever people in the audience recognize it, they just lose their shit. They’re so happy that you’re doing it. It’s a completely welcome enterprise.”Continue reading »
In what is likely to be one of the most interesting cover I’ll hear all week, Road to Manila seamlessly takes on Bon Iver’s Perth.
With this interpretation, Road to Manila offers a welcome change to a beautiful track. The soft, wispy and ephemeral quality that is Bon Iver is still present, but is starkly contrasted with Nicolai Lindegaard’s passionate wailing in lieu of Justin Vernon’s signature falsetto cries. The drum beats a tad bit more aggressively and the distortion’s been turned up a notch, but there’s no mistaking the tune – it’s Perth, tackled from the other end of the music genre spectrum.Continue reading »
Fifty years ago, a covers album wasn’t called a “covers album.” It was called an album. Full stop.
Frank Sinatra, Elvis, Billie Holiday – most albums anyone bought were “covers albums” as we’d think of them today, but that’s not how folks thought of them then. Once the public began putting a premium on singers writing their own songs in the ’60s the concept of course shifted, so that an artist doing a covers album has to be like Michael Jordan playing baseball – an okay diversion but let’s get back to the main event please.
More so this year than ever before though, that pendulum seems to be swinging back in small but meaningful ways to what an album originally meant. More and more artists are releasing LPs saying, this is not my new quote-on-quote “covers album,” this is my new album (that happens to consist of covers). The attitude showcases a confidence and surety of purpose that shows they take performing other peoples songs every bit as seriously as they do their own.
That holds true for both of our top two covers albums this year, and plenty more sprinkled throughout. Which isn’t to knock anyone doing a covers album as a lark, novelty, tribute, or side project – you’ll see plenty of those here as well – but any blurred lines that put a “covers album” on the same level as a “normal” album have to be a good thing.