Apr 122018
 

In Pick Five, great artists pick five cover songs that matter to them.

juliana hatfield covers

Juliana Hatfield is an old hat at making an unlikely song her own. Earlier this year, she made both our Best Cover Songs of January and March roundups. A couple years before that, her version of “Needle in the Hay” was a high point of a Wes Anderson tribute album. A couple years before that, she released a terrific self-titled covers album of her own. I mean, how far back do we want to go here? Hell, she even made our Best Cover Songs of 1996 list! Suffice to say, she knows how to crush a great cover.

That’s why we were so excited to hear about Juliana Hatfield Sings Olivia Newton-John, which comes out tomorrow. It more than lives up to our high expectations. Hatfield takes on hits like “Physical” alongside plenty of deep cuts that prove this is not some gimmick; she’s a genuine fan. Continue reading »

Jun 302017
 

That’s A Cover? explores cover songs that you may have thought were originals.

Come on people now
Smile on your brother
Everybody get together
Try to love one another
Right now

Wow,  that sounds naïve in today’s world, doesn’t it? Watch the news or go on social media and all we see are people screaming at each other, dividing each other and hating each other. Not to mention, why only smile on your brother? What about sisters? And the gender binary should be rejected anyway, right?

In any case, the Youngbloods‘ “Get Together” has become an easy soundtrack shorthand when referring to the optimism of the 1960s (much as Buffalo Springfield‘s “For What It’s Worth” or Crosby, Stills, Nash & Young‘s “Ohio” is used to illustrate the disillusionment and violence of that decade). You just have to hear the opening notes, and you are transported to a world of flower-festooned long hair, tie-dye, fringed vests and pot smoke. Thus, the song’s ubiquity in films, TV and advertising. 

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Mar 142014
 

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!

In the early ’70s, two sets of brothers and their friends, art students at Kent State University, developed a theory. It began as a kind of joke based on a religious pamphlet that alluded to the D-evolution of the unenlightened man. As artists tend to do, they created some performance art and music around this theme for their own amusement. Then the terrible tragedy of the Kent State shootings happened. Four of their classmates were killed by those who were supposed to be protecting them. Suddenly the de-evolution of man and of society in general seemed more than just a joke. The band Devo was born.
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Oct 112012
 

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

Yesterday we took a look at the early years of Neil Young, as represented on the first two sides of Decade (if you missed it, click here to get caught up). Today, it’s sides three and four’s turn; a dozen artists looking at a dozen classics a dozen different ways…
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Jul 012011
 

Anyone annoyed with Rolling Stone’s decades-long cover decline might take heart in their latest contest, in which eight obscure bands compete to land a spot on the front of an August issue. Only two artists remain – the Sheepdogs and Lelia Broussard – and readers vote for the winner.

For their last push, both bands covered a classic songwriter with multiple appearances on the Rolling Stone cover. The Sheepdogs took on Neil Young, giving a pleasant country-rock swing on Crosby, Stills, Nash, and Young’s “Ohio.” It’s not particularly novel, but they perform it well. Lelia Broussard’s cover of Bruce Springsteen’s “Dancing in the Dark,” on the other hand, branches far afield of the original ‘80s pop sound. Sure, it’s the same approach that Tegan and Sara and Amy McDonald previously used with the cover, but Broussard’s percussive strumming adds a slightly harder undertone than those. Continue reading »

Apr 192011
 

Live Collection brings together every live cover we can find from an artist. And we find a lot.

Over the past decade, Portland quintet the Decemberists have gone from indie darlings to indie darlings with a number-one album. This year’s The King is Dead took the band to new levels of commercial success, shining some national attention on a band whose name was once known only to the chamber pop-obsessed and English majors. It may not be too unfounded to compare this band’s story to that of R.E.M.’s in the ‘80s; in fact, given the unabashed fandom they display on The King is Dead, that’s a comparison they’d probably happily invite.

The collection of covers crooned by the Decemberists mostly betrays their too-cool-for-school nature. They seem to have hit all the requisites that prove you listened to hip music in the ’80s – the Velvet Underground, the Smiths, Echo & the Bunnymen, etc. However, there’s a few genuine surprises here. Embarrassing reading of the Outfield‘s “Your Love” notwithstanding, there’s some real pleasure to be had in the band’s delight at ripping into Heart‘s “Crazy on You,” or in their surprisingly earnest rendition of Bad Company‘s “Feel Like Making Love.” Band leader Colin Meloy also turns in an intimate, slowed-down version of Cheap Trick‘s “Summer Girls” to great effect. Even the band’s usual bombast makes itself known in the 16-minute epic of Pink Floyd‘s “Echoes.” Continue reading »