Mar 082016

god dontAugust Wilson’s play Seven Guitars depicts the tragic death of a black blues musician unable to take advantage of his stardom because he can’t get his guitar out of the pawnshop so that he might return to Chicago and record another hit single on a better contract. The play is set in 1948, a year after real-life inspiration Blind Willie Johnson, the gravely voiced musician eulogized in the new tribute album God Don’t Never Change: The Songs of Blind Willie Johnson, succumbed to pneumonia while living in the ashes of a house that had burned down a week earlier. Despite having recorded thirty songs, Johnson died broke, famously using wet newspaper as blankets during his final days.

There are a million ways to evaluate God Don’t Never Change; most of them, I think, will settle on the fact that it will likely go down as one of the best American roots albums of 2016. I think so too. However, the lengthy discussion that follows will not just be about the incredible music of Blind Willie Johnson or even the deserving covers featured on this album. In what is perhaps a risky move in the world of music criticism, I want to frame my discussion of this album around issues of race and culture because we are a site dedicated to covers: the origins of the blues raise questions germane to any discussion of what it means to cover songs belonging to a genre that originally existed to give voice to the experiences and suffering of a specific group of people.
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Nov 012013

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

“Sweet Jane” is a great song. Released on 1970’s Loaded, the Velvet Underground’s last studio album featuring Lou Reed, it immediately became a staple of FM radio, despite its odd and provocative lyrics, unusual structure, and unconventional sound, and it continues to get airplay to this day. What’s the appeal? Part of it, of course, is the riff (which apparently includes a “secret chord”), part of it is the indescribable cool of Reed’s delivery, and part of it is that magic that makes some songs great and others not so much. According to Rolling Stone, it is the 335th greatest song of all time, which is curiously specific. And now, in honor of Reed’s passing earlier this week at the age of 71, the time has come to write about it here on Cover Me.
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Apr 192013

Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.

Fans of Gram Parsons are generally divided into three camps over 1999’s Return of the Grievous Angel: A Tribute to Gram Parsons. The first thinks it’s brilliant, a reverent homage to a great songwriter and a testament to the weight of his country rock influence. The second likes the raw sound of another tribute album better: 1993’s Conmemorativo: A Tribute to Gram Parsons, featuring the likes of Bob Mould and The Mekons. And the third camp feels that the only person that can sing Gram Parsons songs is Parsons himself.

If we took the philosophy of the last opinion to heart, this site wouldn’t even exist. While the so-called purists would deny any version other than the one by the original artist as being legitimate, it certainly would be a dull world if all musicians were content to color within the lines without recognizing that someone else before them drew those lines. While Conmemorativo does contain some gems, there are two reasons why Return of the Grievous Angel is better: great production values, and the guiding hand of Emmylou Harris, who worked so closely with Parsons and who served as executive producer of the compilation. So count us among the members of that first camp. Now let’s meet the man who inspired the album. Continue reading »

Oct 302012

This was the first year that the  free, three-day music festival Hardly Strictly Bluegrass was without it’s founder Warren Hellman. Warren passed late last year and left a San Francisco tradition that is being faithfully carried out by an army of music lovers, bigger and better than ever. This year’s festival in Golden Gate Park featured 6 stages,  a crowd of 600,000 and 88 acts with a variety of artists like Patti Smith, Elvis Costello, The Lumineers, Steve Earle, Emmylou Harris, Conor Oberst, The Civil Wars, Son Volt, Ralph Stanley, Nick Lowe and many more. Check out a handful of the many covers from the weekend below! Continue reading »

Oct 122012

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Today we conclude our look at Decade, the compleat (at the time) Neil Young, by sharing covers of every song on sides five and six. (If you missed sides one and two, click here; go here for sides three and four.) Continue reading »

Dec 092011

When we think back to this year, we might remember 2011 as the year that the whole concept of the “cover album” became more fluid, and not always for the better. Thanks to the increased prominence of sites like Bandcamp and Soundcloud, a cover album could be conceived, recorded, and shared in the space of a weekend. This didn’t necessarily lead to better cover albums, but it certainly led to more of them. They came in all formats – digital, CD, vinyl, and even cassette-only – and from all directions – labels, blogs, and even some magazines.

Which, we like to think, makes this list that much more helpful. In a year where the biggest single-artist cover album we got came from William Shatner, it proved a particular challenge to dig through the many obscure artists and assorted tributes and extract the gems. Gems there certainly were though, be they from newcomers making an impression with their favorite songs or old-timers honoring groups that influenced them decades ago. It may have taken a bit more work to find them, but the end result is as strong a selection as we’ve seen.

Continue to page 2 to read the list…