During the mid-1990s, there were fewer rock-pop crossover bands bigger than Hootie and the Blowfish. But their decline at the end of the decade paralleled their meteoric rise. When the band called it quits in 2008, there was little fanfare or farewell.
Kirsten Agresta Copely is a harpist with a storied background. She has played harp since she was five and had her first solo tour at fourteen. Over the course of her career she has performed all over the world and shared the stage and recording studio with a variety of stars such as Stevie Wonder, Jay-Z, and Evanescence. She has even played alongside Beyoncé at a state dinner for Barack Obama.
At the end of last month, Copely released her first cover album. You may think an album of harp covers is a bit niche for everyday listening, but if you are looking for a cover album with class for your next dinner party, look no further. There is something for everyone on Copely’s new album with selections that span decades, from Fleetwood Mac to Rhianna.
Beyoncé – Before I Let Go (Maze cover)
Last week, Beyoncé surprised-dropped her live album Homecoming. It accompanied the Netflix film of the same name, which immortalized her lionized 2018 Coachella performance. The biggest surprise of all was the bonus track: a cover of Maze’s 1981 “Before I Let Go.” The original song wasn’t a huge hit when it first came out, but has grown to be referred to sometimes as the “black national anthem.” Beyoncé brings it right up to the present with a big production including marching band, new rap verse, and a sample of New Orleans bounce artist DJ Jubilee.
Here’s a stumper: Is it more correct to ask who Grace Jones is, or what Grace Jones is? The model-actress-singer-diva-icon turns 70 today, and her appeal—which might once have appeared to be a particularly long-running flash in the pan—shows no signs of abating. The documentary Bloodlight and Bami, an intimate look at the performer, came out this year, and her memoir I’ll Never Write My Memoirs was a notable book of 2015.
Jones materialized onto the dancefloors and catwalks of mid-70s New York as if dropped from a passing spaceship. Single-handedly redefining “exotic”—back in the days when that questionable term meant “non-Caucasian”—Jones brought a fierce and, for the time, shockingly confrontational androgyny to the pages of fashion glossies. Simultaneously tribal, futurist, techno and primitive, Jones and her trademark glare fairly leapt off the page, daring you to look away. Many could not, and her modeling career, launched in 1966 when she was 18, has never truly ended.
Follow all our Best of 2017 coverage (along with previous year-end lists) here.
Year-end lists are a time to look back. That’s something we’ve been doing a lot of this year.
See, we turned ten years old in 2017 – practically ancient in internet-blog terms – so we’ve indulged in what we feel is well-earned nostalgia. At the beginning of the year, each of our writers picked the ten most important covers in their life (see them here and here and here and here and here and here and here and here and here and here). We even listed the ten most important covers in Cover Me‘s life, from the song that inspired the site to our very first Best of the Year winner.
Then, to cap things off, in October we commissioned a 25-track tribute to the cover song itself – which you can still download for free. We love the covers everyone contributed so much, incidentally, that we didn’t consider them for this list. It’d be like picking favorite children – if you had 25 of ’em.
Oh, and have I mentioned I wrote a book? … What’s that you say? I mentioned that constantly? Well, I’m quite proud of it. It’s called Cover Me: The Stories Behind the Greatest Cover Songs of All Time and it makes a great Christmas gift and – ok, ok, I’ll stop. You can find plenty more about it elsewhere.
Suffice to say, there’s been a lot of looking back this year. And we hope you’ll indulge us this one last glance rearward before we leap into 2018. Because if it’s been a hell of a year for us, it’s certainly also been a hell of a year for the cover song in general. Some of this year’s list ranks among the best covers we’ve ever heard, period. So dig in, and thanks for your support this past decade.
– Ray Padgett
When people argue over the Worst Song of All Time, inevitably someone will mention Journey’s (in)famous “Don’t Stop Believin’.” If Starship had never built that city on rock and roll, it would probably take the crown.
Frankly, I like other Journey songs, but “Don’t Stop Believin'” deserves most of the hate it gets. Its ubiquity on class rock radio, bad karaoke stages, and every college a cappella group that ever donned bow ties has made in insufferable (thank the Glee cover inexplicably going to #4 on the charts for the last one). Even The Sopranos couldn’t give it a coolness bump. It is not only Journey’s biggest song by a mile, it’s one of the most well-known songs of the 1980s, period.
The funny thing is that when it came out, not only was it not Journey’s biggest hit, it wasn’t even the biggest hit on that same album. “Open Arms” off Escape went to #2. “Who’s Crying Now” went to #4. “Don’t Stop Believin’,” meanwhile, barely scraped its way into the top ten.
Escape turns 36 this week, which might occasion a Full Album if anyone ever covered any of the other songs off it. But they don’t. They only cover “Don’t Stop Believin’.”