Oct 182019
 

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

John Bonham

Even if you can’t quite stomach the whole full-on vibe of Led Zeppelin — me, I have to admit to some yawning over the self-reverent mythologizing that can abound whenever one J. Page gets interviewed — you have to admit that “Rock and Roll” is one prime slice of, well, rock’n’roll. Astonishing, even, and one that has me almost believing it all. To be fair, at the time Zeppelin were bigger than huge, bigger than massive, and the sheer impact of side one of IV, on headphones, in a record store in Eastbourne, Sussex, U.K., had this 14-year-old boy smitten. I’d found II too guitarry (!), but this had me on their team immediately. (Side 2 less so, but that’s another story.)

Anyhow, it was in one of these long fawning articles the rock music glossies are so fond of that I discovered the back story of how “Rock and Roll” practically wrote itself in minutes, or at least the melody line. Messing around in the studio, John Bonham suddenly kicked off into an embellished drum intro, “borrowed” from Little Richard’s “Keep a Knockin’.” Jimmy Page instinctively banging in with the riff that basically is the song. With lyrics come from ye olde school rocke thesaurus, Robert Plant’s keening banshee of a vocal somehow imbues a meaningful basis for it all, whilst John Paul Jones’ subterranean bass underpins the whole thing. And, just when you are thinking it all a bit derivative, a final touch of brilliance: single note piano pounding it into the home stretch, courtesy of sixth Stone Ian Stewart.
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Apr 112018
 

Check out more Rock and Roll Hall of Fame Class of 2018 cover features here.

rock and roll hall of fame covers

This week we’ve posted tributes to three of this year’s six Rock and Roll Hall of Fame inductees: The Cars, Dire Straits, and Nina Simone. And lord knows we’ve posted plenty of covers of the other three over the years: Bon Jovi, The Moody Blues, and “Early Influence” inductee Sister Rosetta Tharpe. But to celebrate them all in one place in advance of this weekend’s induction ceremony, we thought we’d round up a few of the best covers we didn’t include in all those other features. Continue reading »

Jul 212014
 
johnny winter cover songs

In high school, a friend and I drove two hours to a blues festival in rural Maine one Saturday. When we got to the gate we found tickets to be well outside of our meager budget, but there was only one artist we’d wanted to see anyway: Johnny Winter. So we found a low fence we could peer over, and sat, and waited. Continue reading »

Mar 182014
 

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

Richard Thompson is a Cover Me favorite, and for good reason. His songwriting and playing are brilliant, and his songs are often covered by musicians who recognize his genius, even if he has escaped widespread popularity. Not only that, he has, since his early days as a teenaged guitarist in Fairport Convention, performed many wonderful covers of other artists. Thompson also has a wicked sense of humor, which is hinted at in his lyrics, but more often displayed in his writings, interviews and stage shows. Rarely does Thompson perform without unleashing a zinger or ten, often directed at audience members who mistakenly believe they can best him in a battle of wits.

So when Playboy magazine came to him in 1999 and asked him to join other musicians in providing a list of the ten greatest songs of the millennium, it is not surprising that he mischievously took them literally. As Thompson wrote:

Such pretension, I thought. They don’t mean millennium, do they? Probably about 30 years is the cut-off: Tears for Fears might sneak in, Cole Porter probably not.

He called their bluff and did a real thousand-year selection, starting with a song from 1068 and including one effort from the 20th century. Playboy, which is rumored to have articles, chose not to print Thompson’s list, sparing their “readers” the opportunity to consider a toe-tapper by St Godric.
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Sep 052012
 

Back Track reexamines an old cover that deserves a new spotlight.

In 1983 X released More Fun in the New World, which became the fourth consecutive album to garner critical praise, and no doubt helped solidify their status as L.A. punk legends. More Fun was crisper than their previous albums, but no less raw and passionate. John Doe and Exene Cervenka still wrote their lyrics as if they were simply writing poems, and while there were more elements of pop to this album, the band’s punk and rockabilly roots held a presence. Continue reading »

Oct 182011
 

It’s unsettling to think what might have become (or not become) of rock music if not for one man in Memphis and his modest recording studio. The talent that Sam Phillips welcomed into his Memphis Recording Service in the early 1950s was legendary and included B.B. King, Rufus Thomas, Howlin’ Wolf, Junior Parker and Ike Turner. These early blues and R&B artists gave Phillips and his fledgling label, Sun Records, some minor notoriety that would soon attract rock, country and rockabilly upstarts such as Johnny Cash, Jerry Lee Lewis, Carl Perkins, and of course, Elvis Presley. His willingness to produce raw-sounding records featuring reverb and distortion caused some to say Phillips didn’t know what he was doing, and others to praise his unique genius. Perhaps Phillips’ biggest stroke of genius was seeing the potential in the young Presley boy that just kept hanging around. Pairing Elvis with guitarist Scotty Moore and Bill Black on bass in the summer of 1954 initially led to a lackluster session until, after a break, Elvis began goofing around with Arthur Crudup’s “That’s All Right.” Instantly Phillips knew he was hearing something special – the white artist with the “negro” sound that he had been seeking. Continue reading »