Frank Sinatra’s granddaughter covers Frank Sinatra. You think you know where this story ends: fawning nepotism. But despite familial loyalty, A.J. Lambert isn’t afraid to twist “Lush Life,” adding a Lynchian undercurrent of menace. More of an overcurrent in the crawling, nose-bleeding video.
Amy Shark – Teenage Dirtbag (Wheatus cover)
Every month, one or two of these selections invariably hail from Spotify’s terrific new cover-sessions series. My only gripe is that they came with no information, the sort a band would write in the YouTube description or press release announcing a new cover, or say on stage before performing one live. That’s now solved with Spotify’s new “Under Cover” podcast, in which the artists performing the covers talk about them. We learn that Amy Shark tried to make “Teenage Dirtbag” a Pixies song, and that she considered the song her anthem when she was young. She says: “The first time I heard ‘Teenage Dirtbag,’ I was in high school. I was crazy obsessed with it to the point where it was in my head every day all day. I would sing it in all day in school. Even teachers would say, ‘Amy, please listen to something else.'”Continue reading »
April was the best month for covers of the year so far. There’s no particular reason for that, I suspect. These things just ebb and flow. But the fact remains that it was a proverbial embarrassment of riches, as the length of the list below confirms.
As always, there’s no quality difference between the main picks and the honorable mentions; a cover’s categorization is only determined by how much I had to say about it.Continue reading »
Lindsey Buckingham is out of Fleetwood Mac for reasons that, a few weeks later, remain as enigmatic as many of the band’s best songs. He was fired – or quit? – amid reports that he wanted to work on a solo album while everyone else wanted to tour. This after reports a couple years ago that he wanted to do a Fleetwood Mac album and Stevie didn’t. Their professional lives today are as complicated and messy as their romantic ones once were.
And let’s be honest: He’ll be back in a few years for a dramatic “reunion tour.” But why wait that long to celebrate this great band? We decided to use the excuse of the recent news to pay tribute to one of the most cover-able bands of all time. And lord knows we’ve paid tribute before, full album tributes to Rumours and Tusk and much more (a bunch of links a the bottom).
But now, just as we did with the Talking Heads last month, we’re looking at the entire catalogue, ranking the top thirty covers of Fleetwood Mac songs from any album or era. There’s no specific Lindsey-focus or anything. Though the majority of songs are from the the classic lineup (including a number from Lindsey’s passion project Tusk), a handful come from the band’s blues beginnings before he or Stevie joined. If the record sleeve said “Fleetwood Mac,” it was fair game for artists to reinterpret – and boy, have they ever. Without further ado, thirty artists who listened carefully to the sound, then played the way they felt it.Continue reading »
In Pick Five, great artists pick five cover songs that matter to them.
Field Report frontman Christopher Porterfield got his musical start collaborating with fellow Wisconsinite Justin Vernon (of Bon Iver) in the band DeYarmond Edison. Wikipedia claims they broke up in 2006, but if that band name sounds familiar more recently, it’s because they contributed one of the absolute best covers of 2016’s 59-track Day of the Dead Grateful Dead tribute, backing Bruce Hornsby on “Black Muddy River.” Hornsby’s vocals are amazing, of course, but listen to how Porterfield, Vernon, and co. give him such a lush bed to sing over for an eight-minute cover that feels as relaxed and winding as its name sake.
Suffice to say, Porterfield knows his way around a good cover song. And he knows his way around songwriting too. We first came across the band in 2014 with “Home (Leave the Lights On),” one of the absolute best songs of the entire year. And today Field Report releases their third album, Summertime Songs. The tone is darker than Beach Boys-esq title might imply, exploring Porterfield’s anxiety before the birth of his first child. That said, like the best of Bruce Springsteen (whom the album sometimes channels), these are anxious songs that would still sound great driving down the highway with the top down. Watch the band play single “Never Look Back” on CBS This Morning last month:Continue reading »
Follow all our Best of 2017 coverage (along with previous year-end lists) here.
Cover albums come and go from memory. It’s sort of inherent in the genre. When a major release comes out – a cover album by one prominent artist, or a tribute compilation by many – it tends to garner an avalanche of blog posts, then get forgotten within a year or two. Many deserve to, no doubt…but not all.
So, since we’ve been looking back a lot this year to celebrate our tenth birthday, I dug back into our previous year-end album lists. My original plan was to see which of our past #1s held up and which didn’t, but I was pleasantly surprised to find they were all still enjoyable. But many, even those that were big deals at the time, have been semi-forgotten.
So I thought, before we dive into this year’s crop, let’s remember what came before. We didn’t do a list the first couple years, but here’s every album we’ve named #1 so far, along with an excerpt of our reviews:
2009: The Lemonheads – ‘Varshons’
“Twelve songs of booze-pop genius cover both classic tunes by songwriters like Leonard Cohen (Liv Tyler guests!) and Townes Van Zandt and obscurities from July and the unfortunately-named FuckEmos.” See that year’s full list here.
2010: Peter Gabriel – ‘Scratch My Back’
“Against all odds, Gabriel builds an orchestra-filled, indie-fied, emotion-fueled masterpiece.” See that year’s full list here.
2011: Baaba Kulka – ‘Baaba Kulka’
“It’s a boisterous Iron Maiden celebration by a collective that may not have a metal bone in its body, but invite big grins while you sing (and dance) along with the wildest crossover album this side of Warsaw.” See that year’s full list here.
2012: Neil Young & Crazy Horse – ‘Americana’
“When you press play the first thing that strikes you is the fuzz of the power chords, the strained bellows, the cardboard-box bashing of the drums. Neil and the Horse’s ragged glory rages so hard the source material becomes secondary.” See that year’s full list here.
2013: Xiu Xiu – ‘Nina’
“Xiu Xiu’s Nina Simone tribute album isn’t an easy listen. It’s not necessarily an enjoyable one either. What it is though is riveting.” See that year’s full list here.
2014: Andrew Bird – ‘Things Are Really Great Here, Sort Of…’
“In Bird’s delivery, the Handsome Family’s songs of old, weird Americana kitsch will hopefully reach listeners who might find the originals too weird.” See that year’s full list here.
2015: Bob Dylan – ‘Shadows in the Night’
“Him releasing an album of songs associated with Frank Sinatra was no surprise at all; he’s been operating in the Ol’ Blues Eyes vein for decades now, just with a (very) different instrument.” See that year’s full list here.
2016: Various Artists – ‘God Don’t Never Change: The Songs of Blind Willie Johnson’
“When it comes to preserving the depth and breadth of the contexts and traditions of American music that informed Blind Willie Johnson’s ecclesiastic but world-weary growl, it helps that the nine artists here…are able to handle the spiritual aspects of Johnson’s work.” See that year’s full list here.
Okay, now that you’re all caught up – let’s see what this year holds!
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 »