As sales of recorded music have plummeted – and streaming royalties failed to make up the difference – many professional musicians’ income streams come increasingly from so-called “syncs”: their music being licensed to commercials, movies, TV shows, etc. One popular sub-genre in the sync world is cover songs, often hit pop songs made slow and/or spooky for a trailer or show (see The New Yorker‘s recent article on the phenomenon). We’ve already posted two cover-song syncs just this week: Sharon Van Etten covering “Suspicious Minds” for a coconut water ad and the HBO show Big Little Lies licensing an old Fleetwood Mac cover by POP ETC.
Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
Did you hear “Born in the U.S.A.” at your Fourth of July BBQ? Maybe a diehard Springsteen fan even played the full album. It certainly packs a punch; seven of the album’s twelve songs became top-10 hit singles. Taking patriotism to a whole new level, this album was even the first commercial CD made in the United States.
Marking the 30th anniversary of the Born in the U.S.A. album, Dead Man’s Town was released in 2014 with the premise that the original album was so good that, as Luther Dickinson of North Mississippi Allstars states, “any of those songs could be played with acoustic guitar alone and still be great.”
Rolling Stone described the album as “reimagining Born in the U.S.A.… with a reduced approach more influenced by that of the acoustic Nebraska.” This cover album certainly would have followed Nebraska more congruously than the original Born in the U.S.A., which marked a departure from Springsteen’s earlier work yet brought him his greatest commercial success.
Dead Man’s Town captures the melancholy aspects of the Fourth of July, a holiday that marks the inflection point of the summer. Summer love is bending towards goodbye. Back to school advertisements abound. If you are looking for a soundtrack to summer’s end or a new take on your favorite Springsteen classics, this is the album for you. Here is a taste of what this album has to offer.
We already counted down the 50 Best Cover Songs of 2018 but, inevitably, many of our staff’s personal favorites get left off. So, before we begin scouting for what might become the best cover of 2019, we share the best of the rest, an unranked hodgepodge of worthy covers that only just missed our year-end countdown.
Today we continue the tradition we started way back one month ago. Since we’re still new at this, I’ll reiterate that our picks are unranked and semi-impulsive. Even the un-blurbed “Honorable Mentions” at the bottom aren’t necessarily worse than the rest; in many cases, we’ve just already written about them at length and have little else to say.
Okay, disclaimers behind us, let’s dive in.
They say nostalgia works in 20-year cycles, and this year the music of 1996 has been in the media a lot. And if you believe the music blogs, it turns out 1996 was a truly groundbreaking year for every possible genre. Over at SPIN: “The 96 Best Alternative Rock Songs Of 1996.” Complex: “Best Rap Songs of 1996.” Junkee: “Ten reasons 1996 was a great year for dance music”. Loudwire: “10 Best Metal Albums of 1996.” Red Bull Music: “1996: Why it was a great year for pop”. Suck it, 1995! (Kidding; similar articles were of course written last year too.)
We’ll be honest: 1996 was not some magical, pioneering year for cover songs. It was also not a terrible year. It was just, you know, another year. There’s no overarching theorem of 1996’s cover songs that wasn’t true in ’95 or ’97. But even so, Cover Me wasn’t around in 1996, so we never made a Best Cover Songs of 1996 list (our first year-end list came in 2009, with the Kings of Convenience’s “It’s My Party” topping it, and you can catch up on all the lists here). So we decided, before the year ends and we take our look at the best covers songs this year, why not take a nostalgic rewind and do 1996 just for fun, twenty years too late.