It may seem like an odd juxtaposition to hear of The Tallest Man on Earth covering Frank Sinatra. After all, the Swedish musician, né Kristian Matsson, has a distinct folk-rock sound pervading his solo career. It becomes less of a surprise, however, in light of the fact that the cover is of the tune “Cycles” (which, for Sinatra, is rather folksy) and that his performance is a guest spot at an Idiot Wind show – that is, Matsson’s wife Amanda Bergman.

Despite having styled her stage name after a Dylan song, Bergman’s sound is much more imbued with piano and crooning vocals than Matsson’s, and expectations of a Sinatra cover would hardly seem off the mark.

The team-up on “Cycles” is a beautiful one, and it seems almost as though the tune was written solely for Matsson’s dreamlike strumming and for the duo’s harmonizing. It’s a down-and-out kind of song, yes, but it’s a hopeful one and an uplifting one. What’s more, the duet hits just the right balance of Matsson’s raspy folk and Bergman’s gorgeous vocals and any lyrical slip-ups toward the end serve only to add to the song’s charm. Enjoy.

Idiot Wind and The Tallest Man on Earth – Cycles (Frank Sinatra Cover)

Check out more Idiot Wind at her website and from The Tallest Man on Earth on Myspace.

Dec 162011

When people look back in 2011 in music a decade from now, one name will come to mind: Adele. In our little world of cover songs, she dominated. Everyone covered Adele this year. It’s not just that we saw more covers of “Rolling in the Deep” than any other song; they beat out second place (probably “Pumped Up Kicks”) by like a factor of five! We generally try to look for larger cover trends in these annual wrap-ups, but it’s hard to remember anything else from this year except the year-long onslaught of Adele covers hitting our mailbox.

There’s only one “Rolling in the Deep” cover in this year’s list though. The rest are all over the place. Some of the artists listed built their covers with lush soundscapes, thick beats, and intricate string work. Others just took guitars or pianos and bowled us over with the emotion in their voices. There may not be much of an overarching “Year in Covers” narrative, but that means there’s a cover or two for everyone. From feel-good takes on rap songs to kill-yourself versions of pop songs, this year’s list features flips, flops, and genre switcheroos of all sorts. A good cover should be informed by the source material but stand on its own, and we’ll be unrolling the 50 finest examples of songs doing just that all week. Start with #50-41 on the next page and check back daily as we count down to the best cover of 2011.

Every Wednesday, our resident Gleek Eric Garneau gives his take on last night’s Glee covers.

In “Extraordinary Merry Christmas,” Artie (Kevin McHale) is offered the chance to direct McKinley’s glee club in a televised Christmas special. Little do the other club members know he takes his Christmas inspiration from some bizarre sources.

“Extraordinary Merry Christmas” is not the first Christmas special to air on television this year. It’s not even the first Glee Christmas special to air, thanks to the irreverent, genius and criminally unpopular NBC sitcom Community, which last Thursday dedicated its entire Christmas episode (entitled “Regional Holiday Music”) to spoofing the Fox musical juggernaut. The staff behind Community probably couldn’t have predicted that they’d get payback for spending a half hour in Glee‘s shoes; this week, Glee decided to live in Community‘s world with an episode you’d expect to see on that show or, really, anywhere but Glee. The Christmas special Artie ends up producing is a (directly referred-to) mash-up of the much-maligned 1978 Star Wars Holiday Special, Judy Garland’s classic 1963 Christmas special, and at the end some Charlie Brown Christmas for good measure. The result basically ends up a cover of a TV show. Though Glee certainly likes to allude to existing pop culture, even going so far as to recreate certain music videos shot-for-shot, it has never lived in another universe for two acts before. That’s Community territory, but Glee pulls it off marvelously. Continue reading »

A few weeks ago, we posted Amy Winehouse’s reggae cover of “Our Love Will Come.” It came off her upcoming rarities comp Lioness: Hidden Treasures and now we have another taste. She covers the bossa nova standard “The Girl from Ipanema” in such imitable Winehouse style that you’ll mourn her all over again. Continue reading »

She & Him – Zooey Deschanel and M. Ward – aim for a nostalgic ’50s vibe on most everything they do, so a classic Christmas album makes sense. The first cut off it surfaced a few days ago and it sounds about like what you’d expect: indie music you can play for the whole family this holiday season. Continue reading »

Jul 082011

Live Collection brings together every live cover version we can find from a prolific artist.

Warren Zevon had paid his dues for years before his self-titled 1976 release would finally get him a fair amount of critical attention and a modest amount of airplay. In his first pass through L.A. he was a session musician and jingle writer, penned a few songs for the Turtles and released a forgettable solo debut in 1970. Then he spent a couple years on the road with the Everly Brothers, both together with Phil and Don and then with each of them solo, like a child of a divorce custody battle, as the brothers were beginning their estrangement. A self-imposed exile in Spain would follow and when Zevon returned to L.A. in late 1975, his pal Jackson Browne was there to help him get a record deal. Zevon had some things in common with his laid-back Asylum label contemporaries, but what separated his music from Browne, Linda Ronstadt and the Eagles was his ability to write caustic and satirical songs about unconventional people often in awkward situations. Continue reading »

Every Wednesday, our resident Gleek Eric Garneau gives his take on last night’s Glee covers.

In “Funeral,” the glee club prepares for their pending trip to Nationals, but are hit surprisingly hard by the death of club nemesis Sue Sylvester’s sister.

I imagine some viewers out there feel cheated by the identity of the person who dies in “Funeral.” I thought for sure the smart money was on Kurt’s dad Burt (Mike O’Malley). On last week’s post commenter Jason supposed it’d be Karofsky, closeted football player and Kurt’s one-time enemy, whose death would’ve provided a surprising end to his arc but didn’t seem impossible. Yet “Funeral” took from us Sue (Jane Lynch) Sylvester’s sister Jean, an almost non-character who appeared a few times throughout the course of the show to remind viewers that Sue indeed had a heart. Continue reading »

By now, no one would bat an eye to hear that a singer from the ’50s or ’60s was recording an album of heavy metal tunes. Pat Boone’s already done it, William Shatner’s got one on the horizon, and anyone who’s seen The Osbournes television show knows that “Crazy Train” can swing. But with SIN-Atra, Eagle Rock Entertainment has posed the opposite question: can heavy metal artists channel the crooner spirit via the classic songs of Frank Sinatra? Further, will anyone want to hear it?

With an album like SIN-Atra, one must keep expectations in check. Musically, there’s not much variety here. All 12 songs are performed by the same backing band, which includes Bob Kulick (KISS) on guitar and Billy Sheehan (Mr. Big) slapping the bass. With a couple exceptions, each track bathes a classic Frank tune in a thick layer of sludge. Despite the glammy list of contributors, this record mostly eschews a hair metal sound in favor of really hard rock or power metal (though, given the source material, synthesized strings and brass frequently manifest). Biting power chords don’t always provide the best accompaniment for the rich textures woven into Sinatra’s work, leading a few of the tracks to sound a bit messy. Providing a couple exceptions to the metal dirges, album-closer “That’s Life” bounces along with a poppy Sunset Strip beat, while Kulick propels “The Lady Is a Tramp” via a “Hot For Teacher”-esque riff that perfectly fits the lyrics, making “Tramp” the best ’80s-style song since Steel Panther’s last record. Basically, if you like this genre, you’ll probably enjoy these tracks, and if you don’t, this record isn’t for you. Continue reading »

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