May 292015
 

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!

elliottsmith-01

Someday you idiots will shut up and listen to him. — Lou Barlow

Elliott Smith was an outlier. He stuck out on his label, Kill Rock Stars, home of Sleater-Kinney and The Raincoats. He stuck out at the Oscars, wearing a white suit while performing “Miss Misery,” a polar bear stranded on a floating iceberg that failed to sink the Academy’s love of all things Titanic. And he stuck out in defiance to America’s ignorance of his music by continuing to do things his own way, against the advice of those who supposedly had his best interests in mind. Unfortunately, he sometimes didn’t have his own, either.
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Mar 242015
 

Let’s get this out of the way first: Elliott Smith’s songs are not easy to cover. This isn’t necessarily related to virtuosity, but might even be related to the exact opposite. Smith’s voice (squeaky, usually double-tracked, always on the verge of slipping off key) was something that he used as a weapon, tearing right into the heart of his music. Pairing that voice with soul-baring lyrics and melodies that never strayed too far from the Beatles and Beach Boys school of pop music, Smith carved out a segment of the singer-songwriter genre that was all his own.

That being said, Seth Avett (of the Avett Brothers) and Jessica Lea Mayfield have a decent go at it on the informatively titled Seth Avett & Jessica Lea Mayfield Sing Elliott Smith. Upon first listen, the album’s most glaring problem (for Smith fans, at least) becomes apparent: most of the selections fall very close the originals. “Between the Bars,” probably the most covered song of Smith’s songs (over-covered, if you ask this reviewer), hits all of the original’s beats. “Angeles,” too, is played (albeit a little slower) like a straight transfer of the Either/Or cut. Though, this does raise a question: what’s the alternative? How do you rearrange “Angeles” (perhaps the best candidate for the most wholly representative song in the Elliott Smith catalogue) without losing what makes it special? I imagine these are the questions that Avett and Mayfield asked themselves, too – presumably without finding any satisfactory answers.
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Feb 182015
 

Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.

Here at Cover Me Q&A, we’ll be taking questions about cover songs and giving as many different answers as we can. This will give us a chance to hold forth on covers we might not otherwise get to talk about, to give Cover Me readers a chance to learn more about individual staffers’ tastes and writing styles, and to provide an opportunity for some back-and-forth, as we’ll be taking requests (learn how to do so at feature’s end).

Today’s question: What’s a cover song that introduced you to an artist?
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May 132014
 

Wes Anderson fans, rejoice! The director, known for his twee composition and killer soundtracks, is being recognized by American Laundromat Records in the form of song. I Saved Latin! A Tribute to Wes Anderson, is a 23-track, 2-disc compilation set full of covers of songs that appear on Anderson’s quirk-filled films. The album, which is being released today, features covers by Telekinesis, Margot & the Nuclear So & Sos, and this cover of Elliott Smith‘s “Needle in the Hay,” by Juliana Hatfield. Continue reading »

May 132014
 

With the possible exception of Martin Scorsese, no movie director has been more closely identified with his soundtracks than Wes Anderson. He has consistently selected songs by well-known artists that, through no fault of their own, have become three-quarters forgotten over the years, and reintroduced them to the world as the classics they had always been. If someone calls a song a prime candidate for the next Wes Anderson soundtrack (Guilty!), an instant and accurate picture is created. The soundtracks show a cohesion that’s rare in these days of we-want-a-hit soundtracks, where the earmarked smash doesn’t play until the final credits have started rolling, and they have become high points in the experience of watching Anderson’s movies. Now the American Laundromat Records label has collected covers of some of those high points on I Saved Latin! A Tribute to Wes Anderson, resulting in the best tribute album of the year.
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Oct 102013
 

Madonna has a new project titled SecretProjectRevolution. Despite the title, Madonna’s latest venture is anything but a secret. She released a 17-minute film that she co-directed with Steven Klein expressing her commitment to ” inspire change in the world through artistic expression.” The film was the launching point of Art for Freedom, an “online global initiative to further freedom of expression… to respond, address and protest persecution around the world.” Continue reading »