The Horn The Hunt, a dreamy pop duo hailing from Leeds, has released a cover of Neil Young‘s “Heart of Gold.” The cover was officially released as a B-side for the band’s single, Starless, at the end of March and has been making waves since. Continue reading »

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 their, yes, 40 years as a band, Los Lobos have demonstrated that not only can they play pretty much any style of music, they can play it very well. They have excelled with albums that have included blues, rock, R&B, experimental sounds, numerous styles of Mexican folk music, American folk music, Americana, and Tex-Mex, all performed and played brilliantly. They play acoustically and electrically. Their songs can be simple rockers, sinuous jams, complex sound collages, or heartbreaking stories of life on the margins. They tour regularly, with different sets each night. The core members of the band – David Hidalgo, Cesar Rosas, Louie Pérez and Conrad Lozano – have been together from the start. Sax player Steve Berlin joined in the early 1980s, and they have had a few different drummers (though not quite to Spinal Tap levels of turnover), with the excellent Enrique “Bugs” Gonzalez currently occupying the stool. Considering their longevity, the breadth of their output, and the quality of their songwriting and musicianship, they should be in contention for the mythical title of Greatest American Band, and it’s sinful that they’re not in the Rock and Roll Hall of Fame.
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Nov 042013

In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.

Not much can be said about Lou Reed that hasn’t already been said. When he died on October 27 at age 71, Reed left behind an indisputable legacy of influence that dwarfs some of the biggest names in rock and roll. You can ignore him, hate his music or his voice, dislike his politics or his openness with drugs and sexuality, or downplay his role in rock and roll history — but none of that matters. If you chopped down the tree of influence that grew from the roots of Reed and the Velvet Underground, what would come crashing down would take out most of the house of rock and roll as we know it. The leaf you listen to seems to be all its own, but the branches that hold it up are massive.
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In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by. Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

This is a hybrid piece, melding together two Cover Me staples, “In Memoriam” and “Full Albums,” prompted by today’s anniversary of the plane crash that killed Lynyrd Skynyrd members Ronnie Van Zant, Steve Gaines, and his sister Cassie Gaines. We’re remembering them by giving the Full Album treatment to the band’s debut album, (Pronounced ‘Lĕh-’nérd ‘Skin-’nérd). While neither of the Gaines siblings appeared on it, they certainly played its classic songs in concert, and probably even some of the lesser-known ones. So this piece may lack a certain consistency, but if a band can tour as Lynyrd Skynyrd with only one original member, then we can still do this.
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Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.

Here at Cover Me Q&A, we’ll be taking questions about cover songs and giving as many different answers as we can. This will give us a chance to hold forth on covers we might not otherwise get to talk about, to give Cover Me readers a chance to learn more about individual staffers’ tastes and writing styles, and to provide an opportunity for some back-and-forth, as we’ll be taking requests (learn how to do so at feature’s end).

Today’s question comes from Cover Me writer Jordan Becker: What cover song made you reevaluate your feelings about the original?
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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!

Gillian Welch is a yankee. There, it’s said. One would have a hard time discerning it from her mix of folk and bluegrass arrangements, but there’s a Big Apple right there on her birth certificate. So let it be noted that, when compared to some “legitimate” country music popularized and sung by those born and bred in the South, with their auto-tuned cartoonish absence of substance, an overabundance of shiny objects and pyrotechnics, and some ghastly redneck rap thrown in, it’s obvious that birthplace alone has little influence on how traditional or great country music is.
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Every once in a while, a band will throw in a cover or two to their live shows. Mac DeMarco couldn’t limit his cover choices, so he decided to squeeze as many as he could into a punch-drunk medley. Continue reading »

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

In 1975, Neil Young released Zuma, one of several albums he recorded in the ’70s which contained a single song that pretty much eclipsed the rest of the album. In Zuma’s case, it was “Cortez the Killer,” a three-chorder rumored to have been written to make it easier for Crazy Horse guitarist Frank Sampredo to play along on rhythm guitar. Young hadn’t played with Crazy Horse for several years, and during that time Sampredo had taken the place of founding guitarist Danny Whitten, who had died of a drug and alcohol overdose. Clocking in at over seven minutes, “Cortez” was originally even longer — it famously had to be faded out because tape ran out during the session. (Upon learning the song’s last verse didn’t get recorded, Young shrugged and said, “I never liked that verse anyway.”) Bands who have covered the song have been been tacking minutes onto it ever since. Continue reading »

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