Well, it has been quite a week in politics. President Trump got sworn in Friday, then on Saturday hundreds of thousands of protesters marched across the country. We don’t need to go into the many (many) controversies and debates the first few days of the Trump administration have already brought us. You know them, and that’s not really our beat anyway.
What is our beat is cover songs, and a whole lot of politically-minded covers came out in the past week. Some are explicitly covers of songs with political lyrics, like Neko Case, kd lang, and Laura Veirs covering Patti Smith’s “People Have the Power” and OK Go covering Morrissey’s “Interesting Drug” (opening lines: “There are some bad people on the rise / They’re saving their own skins by ruining other people’s lives”).
Warren Haynes’ band Gov’t Mule have made a tradition of epic New Years Eve shows at New York’s Beacon Theatre. Last year they did three full sets of covers of other artists (as “Grateful Mule”, “The AllMule Brothers,” and “The Mule” [The Band]). And for 2016, they paid tribute to the long list of musician who left us this year, covering Leonard Cohen, Prince, David Bowie, Leon Russell, Sharon Jones and the Dap-Kings, Merle Haggard, The Eagles (for Glenn Frey), Parliament Funkadelic (Bernie Worrell), Earth, Wind & Fire (Maurice White), The Black Crowes (Eddie Harsch), and Emerson Lake and Palmer (Keith Emerson and Greg Lake). Whew!Continue reading »
Follow all our Best of 2016 coverage (along with previous year-end lists) here.
2016 in music will be most remembered for one thing: death. It seemed like an unprecedented list of major musical figures left us this year: David Bowie, Prince, Merle Haggard, Leonard Cohen. The list, sadly, goes on and on.
Prominent passings affect many aspects of the music world, but the impact is particularly clear in the world of cover songs: When an artist dies, a lot of people cover his or her songs. The world was hardly hurting for Prince covers before April 21, but afterwards, to paraphrase the man himself, we went crazy. Bruce Springsteen alone became a one-man tribute machine, covering Bowie, Prince, The Eagles’ Glenn Frey, and Suicide’s Alan Vega after they died (it’s a shame his tour ended before Cohen passed because he’d do a great “Everybody Knows”). Our list this year features a number of these tribute covers – though both the Cohen covers listed were actually released before his death, proving there’s no need to wait to honor one of the greats.
Our list also features fantastic final covers by the recently departed, brilliant song-interpreters like Sharon Jones and Allen Toussaint. The fact that they died may add extra meaning to these new songs, but they’d make the list regardless. Whether they performed wonderful covers or wrote wonderful songs for others to cover, we miss these artists because they were great. They don’t need any “death bump.”
The year wasn’t all dire though. Our list features many covers by and of artists who are alive in every sense of the word. Kendrick Lamar and Drake represent the new world of hip-hop, Kacey Musgraves and Sturgill Simpson in country, Animal Collective and Joyce Manor in indie rock, and in too many other genres to name. Jason Isbell currently holds a streak here, making his third consecutive appearance this year.
We also have plenty of artists whose names I won’t highlight here, because you probably won’t have heard of them…yet. We’re not in the business of predicting fame – the music industry is far too fickle for that – but some of our past best-cover winners have gone on to big things this year, like Chance the Rapper (2014 winner) and The Weeknd (2012 winner). Hell, Sturgill (#3 in 2014) just got an Album of the Year Grammy nomination!
Those early covers may have helped kick off such success. A revelatory cover song can help a musician attract early attention. When I interviewed Mark Mothersbaugh recently, he said no one understood what Devo was doing until they covered “Satisfaction.” A familiar song done Devo-style finally made the connection for people. “Whip It” and other original hits would not be far behind.
Maybe some of this year’s under-the-radar names will go on to Weeknd-level superstardom. But even if they don’t, all these covers, by household names and Garageband geeks alike, deserve recognition. We’ll miss all the great musicians who left us this year, but it’s gratifying to see so many promising younger artists coming in to fill their shoes.
– Ray Padgett, Editor in Chief
(Illustration by Sarah Parkinson)
PS. Last year in this space, I mentioned I’m writing a book about cover songs. Well, Cover Me (the book, that is) is finished and will be out next year! In addition to the aforementioned Mothersbaugh, I interviewed Roger Daltrey about “Summertime Blues,” David Byrne about “Take Me to the River,” and many more. Follow our Facebook for updates on preorder, etc. Now, on to the countdown…
Follow all our Best of 2016 coverage (along with previous year-end lists) here.
We’ve done a Best Cover Albums list every year since 2009. That list usually ends up being a reasonably even mix of various-artist tributes and single-artist records. But in all those lists, our number-one pick has been, without fail, a single-artist album (for those keeping score at home, we’ve awarded The Lemonheads, Peter Gabriel, Baaba Kulka, Neil Young and Crazyhorse, Xiu Xiu, Andrew Bird, and Bob Dylan – who didn’t turn up to accept our prize either).
This single-artist streak is no coincidence. It is naturally easier for one artist, if he/she/they are good enough, to maintain consistent quality control over 10 or 15 tracks. Whereas even the best mixed-artist tribute records usually have one or two dud tracks. Take the National-curated Day of the Dead, certainly this year’s highest-profile tribute album. Some of these Grateful Dead covers were so good they’ll appear on next week’s Best Cover Songs of 2016 list. Many others were dreck, filler, or superfluous. So we ranked the record – spoiler alert – at #20, sort of an honorable-mention position.
Even various-artist tributes comprised of uniformly good covers typically don’t add up to more than the sum of their parts. For example, we ranked MOJO Magazine’s Blonde on Blonde tribute pretty high this year because we liked just about every one of the Bob Dylan covers on offer. But there’s little common ground between an aggressive electronic “Rainy Day Women #12 & 35” and a tender folk “I Want You.” The record is more a bunch of great cover-song fodder for mixes and playlists than a truly great and unified album.
I sound like I’m being critical, but again, these are among the best cover albums of the year. This is usually the most a various-artist tribute album can aspire to: more good covers, few bad ones.
But this year, for the first time in our eight years making these lists, a various-artist tribute album rose so all the way to the top. This album was not only good top to bottom, but it felt like a real album, not just a collection of covers. It ably walked the finest of lines: showcasing diverse approaches to the source material while just remaining cohesive enough to stand together as a complete listen.
I don’t want to give away what that number-one album is just yet. We’ll get there, and there’s already enough of a tendency with year-end lists to skip straight to #1 and ignore the rest. I no doubt have not helped by hyping this magical album that broke our eight-year streak. But every one of the twenty albums we picked offers something worth hearing.
We’ve got jazz-sax forays through prog-rock and twee-pop covers of vintage punk tunes. There’s a ’60s New York icon honoring her then-competitors in the British Invasion, and a band from that same British Invasion honoring their American inspirations. There are tributes to great musicians who died this year, and tributes to long-dead musicians who there’s no news hook for honoring now, just great songs.
This list itself is as “various artists” as it can get, a whole array of genres and styles with one common thread: musicians honoring their inspirations and influences. Let’s dig in.
Over the past few months, we’ve been hard at work making our list of The Best Cover Songs of 2016. Narrowing it down to 50 caused some excruciating choices, that’s how many great covers there were this year.
We’ll be posting the full list next week (and “Best Cover Albums” this Thursday), but as a little appetizer, here are our Honorable Mentions, covers we loved and still wanted to spotlight as among the best 2016 had to offer.Continue reading »
Any collection of a popular artist’s songs presented as children’s music should always be approached with some level of trepidation. And with good reason, given the glut of inanely saccharine covers delivered either by children and twee instrumentation or adults pandering to the younger demographics. The latter case is perhaps the most egregious, as these adults seem to believe that the only way in which to create music kids will understand is to severely dumb down the content and up the intolerably cartoonish elements of the worst of so-called children’s music performers. The question often becomes, Why subject your children to these atrociously subpar re-imaginings of popular songs when the originals are vastly superior and just as accessible?
Thankfully, the folks at Spare the Rock Records seem to have felt the same with regard to the world of children’s music and, rather than adding to the pap currently clogging the marketplace, have ventured to release music aimed at children but ideally suited for the whole family. And there is perhaps no better artist, save perhaps the Beatles, for whom this approach is ideally suited than David Bowie. With his passing in January of 2016, he left a gaping void in the musical landscape, one artists across myriad genres have, in the months since, sought to fill in the form of countless tributes, think pieces, and heartfelt expressions of admiration.
And while we may have lost the man himself, we will always have his music. His is a catalog so vast and stylistically diverse as to perfectly warrant the stylistically diverse assemblage of artists and styles gather here on the newly-issued Let All the Children Boogie. Stripped to their barest elements and rebuilt in individually idiosyncratic ways, the work of David Bowie presented here remains wholly recognizable, yet affords listeners an entirely new way of hearing these well-known songs.Continue reading »