Feb 242017
 

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

Ray Padgett

Ray Padgett founded Cover Me in 2007. He has a book about cover songs coming out in October (see #9 below) which you can preorder at Amazon.

For the past two weeks, our writers have been writing about the ten cover songs that matter the most to them (catch up here). I will be doing the same, but for me, the list is slightly different. I founded this site ten years ago this year, and the covers that are the most important to me double as the covers that are most important to Cover Me.

Any cover I’ve loved for the past decade has made its way to Cover Me, and many of Cover Me’s milestones became important covers to me – even ones that are basically coincidences. I don’t know how well I’d remember Lucinda Williams’ Shel Silverstein cover otherwise (though it’s worth remembering), but because premiering it was our first post of months of work re-designing and re-launching the site from scratch (RIP covermesongs.blogspot.com), it holds a special place in my heart.

So here are the songs that matter the most to me, which double as a history of this website from its inception to today. Whether you started reading us last week or last decade, thanks for you support all these years. See you in another ten.

– Ray Padgett
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Feb 212017
 

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

jordan

Jordan Becker lives in Tarrytown, New York, a suburb of NYC where the Tappan Zee Bridge crosses the Hudson (until the new bridge is finished and they knock it down). He’s been writing for Cover Me since 2013, debuting with an essay about Mermaid Avenue by Billy Bragg and Wilco (see below). Of all his Cover Me pieces, he’s “kind of proud” of spotlighting the Grateful Dead and defending Dexys Midnight Runners.
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Jan 062017
 

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!

Jose Feliciano

“You know,” Steve Buscemi famously says in Fargo, “Jose Feliciano, you got no complaints.” That wasn’t always the case – his rendition of “The Star-Spangled Banner” before game five of the 1968 World Series caused much wailing and gnashing of teeth back in the day – but Feliciano’s sheer talent and the undeniable prowess of his guitar playing, not to mention the length of his career, have seen him outlast all the negativity and become one of the most admired musicians playing today.
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Jun 032016
 

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

rotary_connection-songs

With the rise and, more importantly for the record companies, financial success of the pop music market in the mid-to-late-’60s, it should come as little surprise that this era served as one of the most prolific for cover songs. Some artists merely issued them as singles, while others saw fit to fill entire albums with pop hits of the day. And while the majority were given something of an easy listening makeover or subtle rewrite, there were a handful who saw fit to take this well-known, well-loved material and turn it on its ear. One of the best one-off examples of this is Smith’s smoldering reworking of Burt Bacharach’s song “Baby It’s You,” in which co-lead vocalist Gayle McCormick gives one of the best vocal performances of the era.

Taking a similar tack, psychedelic soul group Rotary Connection set their sights on the psych and pop hits of the day to create something wholly new and different with their 1969 album Songs. Where others who chose to take songs like the Band’s “The Weight,” “Respect” (either Otis Redding’s original or Aretha Franklin’s iconic version) and Cream’s riff-tastic “Sunshine of Your Love” stuck largely to the recognizable for understandable commercial reasons, Rotary Connection opted to take each song in an entirely new, often wildly experimental direction. By stripping the songs of their melodic and rhythmic familiarity, even the most played-out of these covers feels entirely new and different.
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Jan 092015
 

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

“Hey Joe” ranks right up there with “Stagolee” in the list of deathless murder ballads, and we have Billy Roberts to thank for its existence.

Billy Roberts? Who he, you ask, as did I, long believing the tale that Tim Rose spun about it being trad.arr. It certainly should be, call and refrain being common features within the traditional canon, but there isn’t enough evidence to nail that theory, so Billy Roberts, a ’60s coffeehouse folkie, has the official rights thereto. (Never mind the theory that he “gave” the song to Dino Valente, author of the Youngbloods’ “Get Together,” in order to give Valente some royalty income while he was in prison.)
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Aug 042014
 

An expanded version of this article – with a new Lenny Kaye interview! – appears in my upcoming book ‘Cover Me: The Stories Behind the Greatest Cover Songs of All Time’. Preorder it at Amazon.

Before there was a song called “Gloria,” there was a poem called “Oath.” And the transition from one to the other might never have happened without forty bucks and one loud bass note.
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