Having been working for a mind-boggling six decades, Cher is set to release an album of ABBA covers called Dancing Queen in September. The ear-worm classics “Dancing Queen,” “Waterloo,” and “Fernando” are all present and accounted for, along with some deeper cuts like “One of Us” and “Chiquitita.” It’s a quick and canny follow-up to her appearance in the sequel Mamma Mia! Here We Go Again. In the movie, Cher appears as the mother of Donna, the matriarch played by Meryl Streep where she sings “Fernando” to Andy Garcia and pops up again with the entire ensemble on “Super Trouper.”
That’s A Cover? explores cover songs that you may have thought were originals.
If great songs are romantic flings—seizing you by the ears and locking you in a passionate, three-minute embrace before they leave you breathless and aching for more—there’s precious few that compare with the record-buying public’s three-year infatuation with the song “Hey, Joe.”
Hundreds of renditions have been recorded, several making the charts. But none proved more lasting than a version committed to wax in late 1966, the debut 7” by a young guitarist you may have heard of. We’ll get to his story in a moment, but first the phenomenon of multiple concurrent covers demands a little exploration.
First and foremost, I will start off by admitting I had no clue this was originally Cher‘s song. Then again, on first hearing Nancy Sinatra in Kill Bill Vol.1, I should have expected no less from Quentin Tarantino than to feature yet another brilliant cover song to accompany his film (after all, he did do it in Reservoir Dogs, Pulp Fiction, and Jackie Brown).
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.
Tara Jane O’Neil’s artistic work crosses multiple boundaries – she’s a singer-songwriter, multi-instrumentalist, and a drawer and painter whose creations have been exhibited worldwide. She calls Portland, Oregon home, with additional residencies in the hearts of thousands. Her website states that “her work innately crosses genres and boundaries,” a point brought home by her collaborating on an album with Nikaido Kazumi, despite their not sharing a spoken language. Perhaps most important, her skills at karaoke are unparalleled – people are still talking about her performance of “Xanadu” at the Experimental Filmmaker Karaoke Throwdown in 2008.