Jul 212016
 
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A few weeks ago I was having a discussion with my friends about Bon Jovi’s best song.  Of course, there were plenty that chose “Livin’ On a Prayer” or “Bad Medicine”.  Even a couple of votes for “It’s My Life”.  My friend, Steve, chose “Bed of Roses”.  (I still don’t know if he was joking or not.)

My vote went to “You Give Love a Bad Name”.  For me, there is not a better Bon Jovi tune.  So when I heard that the amazing Postmodern Jukebox did a cover of this song, I had to write about it. Continue reading »

Mar 172016
 

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!

Dolly-Parton

 
Dolly Parton is one of the true legends of country & western music. Half a century after the release of her first true C&W album, 1966’s Hello, I’m Dolly, she’s announced a 60-city North American tour that will promote her upcoming 2-CD set Pure & Simple, containing both new material and greatest hits from throughout her career. For all her years in the musical industry, Dolly has never forgotten her roots, and she continues to perform at a high level at an age when most artists are tired of the road.

When looking back over her career, it’s clear that she’s an original, and her critical and commercial success as a songwriter reflects that. But like any true great, she knows the value of a good cover song. Millions and millions of dollars, in the case of Whitney Houston’s version of Dolly’s “I Will Always Love You,” but the cover songs that Dolly herself records have worth that goes beyond the bank. She’s had huge success with covers in each of the last several decades. Here are some of her best.
Continue reading »

Jan 252012
 

Back in November we introduced you to the Miracles of Modern Science when they covered Foster the People’s “Pumped Up Kicks.” Well, they’re back with a new video, and it’s delightful. Justin Vernon’s Bon Iver is up for Best New Artist at the Grammys this year (despite the fact that his debut came out in 2008) and despite the new directions 2011’s Bon Iver, Bon Iver took the “band,” the core of his style remains: chilly choruses of his own voice. Continue reading »

Nov 152011
 

When presented with a series of cover albums called Guilt by Association, one might imagine them to be filled with ironic takes on cheesy pop songs; that threat’s only increased by a volume that promises to present only songs that fall under the classification of “hair metal,” perhaps the most mocked of all genres. Fortunately, Guilt by Association Vol. 3 betrays no sign of hipster bands mocking songs that some people (this reviewer) legitimately love. Instead, it finds a collection of young, talented acts embracing some admittedly overwrought material from the 1980s and truly making it their own. By any metric, Guilt by Association can be considered a success. Continue reading »

Jul 192011
 

We at Cover Me get excited when a musician finds a genre twist that transforms a cover song’s meaning. Previously, we mentioned Laurence Collyer as the one-man-band member of The Diamond Family Archive who excels in doing just that. This Brighton-based musician takes generally upbeat pop songs and twists them into sad and lonely little folk and acoustic numbers. In his latest set, Collyer was kind enough to indulge us with an exclusive EP of outtakes from his brilliant 2009 cover album, The Wanderer. Some are alternative performances of album tracks; others are never-before-heard covers. Continue reading »

Mar 092011
 

In Defense takes a second look at a much maligned cover artist, album, or trend and asks, “Is it really as bad as all that?”

Disclaimer: This won’t be a strong defense of any particular American Idol artist. Let’s face it, the show has produced some music that’s utterly indefensible. You won’t catch me rocking out to Clay Aiken in the car anytime soon, mostly because “Invisible” is the creepiest song ever written. But a lot of music fans are quick to dismiss Idol as the lower common denominator of pop culture (an award properly given to the truly meritless Bridalplasty), when the series possesses several redeeming qualities. Chief among them: the ability to surprise audiences with the appearance of a knockout cover bobbing in a sea of dreary copycat performances. Continue reading »