Jun 202014
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Astral Weeks, insofar as it can be pinned down, is a record about people stunned by life, completely overwhelmed, stalled in their skins, their ages and selves, paralyzed by the enormity of what in one moment of vision they can comprehend. — Lester Bangs, 1979

I was so shocked when I was teaching a seminar at Princeton just a couple years ago, and out of 16 students, four of them said their favorite album was Astral Weeks. Now, how did it enter their lives? We’re talking about an album that was recorded well before they were born, and yet it spoke to them. They understood its language as soon as they heard it. — Greil Marcus, 2009

To paraphrase the singer of “Sweet Thing,” Astral Weeks is dynamite and we don’t know why. The album Van Morrison created in his early twenties has detonated in more psyches than thousands of better known works, but when its biggest fans try to explain its greatness, more often than not, their tongues get tied every time they try to speak.
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Mar 142014
 

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!

In the early ’70s, two sets of brothers and their friends, art students at Kent State University, developed a theory. It began as a kind of joke based on a religious pamphlet that alluded to the D-evolution of the unenlightened man. As artists tend to do, they created some performance art and music around this theme for their own amusement. Then the terrible tragedy of the Kent State shootings happened. Four of their classmates were killed by those who were supposed to be protecting them. Suddenly the de-evolution of man and of society in general seemed more than just a joke. The band Devo was born.
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Jan 312014
 

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

The oft-covered Chuck Berry gem “Memphis, Tennessee” was never meant for stardom, taking a back seat to Berry’s “Back In The U.S.A,” which was the A to “Memphis”’s B on the 1959 single they shared. Chart success would eventually happen in England, where it was released as a double A-side with “Let It Rock” and climbed to #6 on the UK charts. With this history, it’s no surprise that a who’s-who of the British invasion has covered it – the Beatles, the Rolling Stones, the Animals, the Dave Clark Five, and The Hollies have all taken a stab, turning the trip through “Memphis” into a rite of passage.
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May 262011
 

Dylan Covers A-Z presents covers of every single Bob Dylan song. View the full series here.

An excerpt from Bob Dylan’s Chronicles: Volume One (Simon & Schuster, 2004):

When I finally did arrive in California, my songs and my reputation had preceded me. I had records out on Columbia and I’d be playing at the Santa Monica Civic Auditorium and meeting all the performers who had recorded my songs-artists like The Byrds, who’d recorded “Mr. Tambourine Man,” Sonny and Cher, who’d done “All I Really Want to Do,” The Turtles, who recorded “It Ain’t Me, Babe,” Glen Campbell, who had released “Don’t Think Twice,” and Johnny Rivers, who had recorded “Positively 4th Street.”

Of all the versions of my recorded songs, the Johnny Rivers one was my favorite. It was obvious that we were from the same side of town, had been read the same citations, came from the same musical family and were cut from the same cloth. When I listened to Johnny’s version of “Positively 4th Street,” I liked his version better than mine. I listened to it over and over again. Most of the cover versions of my songs seemed to take them out into left field somewhere, but Rivers’s version had the mandate down-the attitude and melodic sense to complete and surpass even the feeling that I had put into it. It shouldn’t have surprised me, though. He had done the same thing with “Maybellene” and “Memphis,” two Chuck Berry songs. When I heard Johnny sing my song, it was obvious that life had the same external grip on him as it did on me.

Yes, today’s installment boasts a special distinction: It contain Dylan’s favorite cover of his own work. Rivers’ “Positively 4th Street” is indeed spellbinding. We’d venture that if Bob heard some of these other covers, though, he might have to reconsider. The Ghosts of Electricity’s 11-minute “Standing in a Doorway” takes a live jam to the stratosphere. Guy Davis’ “Sweetheart Like You” is so beautiful it redeems all of Dylan’s output in the ’80s (well, almost). If nothing else, John Doe (of X)’s soaring “Pressing On” from the I’m Not There film would surely be a contender.

We’ve also got a few of those “left field” covers he apparently disdains. Red Hot Chili Peppers’ “Subterranean Homesick Blues” roars even harder than he ever intended. World Wide Message Tribe’s “Precious Angel” takes the holy message to the club floor. Cheap Trick’s 10-minutes “Please Mrs. Henry” doesn’t sound much like it did with the Band in that Woodstock basement. Check out these and dozens more on the next few pages and see if you agree with Dylan that Rivers tops the lot.

P.S. After you’ve reached your verdict, you might also compare it to the 170 covers we’ve presented in previous installments, linked here:
Part 1: “Absolutely Sweet Marie” – “Everything Is Broken”
Part 2: “Father of Night” – “Just Like Tom Thumb’s Blues”
Part 3: “Knockin’ on Heaven’s Door” – “Oxford Town”
Part 4: “Peggy Day” – “Sweetheart Like You”
Part 5: “T.V Talkin’ Song” – “4th Time Around” [Coming Friday]

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