Jun 152022
 

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!

Hmmm–“In the Spotlight” could well be the giveaway, being exactly where at least half of this odd couple seems, more than anything else, to want to be. Odd couple? Well, back in the day, I daresay that the idea of Robert Fripp, the complex guitar wrangler of King Crimson fame, besuited and besitted always, having a lengthy and lasting marriage with Toyah Willcox, the punk-pop princess of Birmingham with the look-at-me dramatics, was not one of life’s great certainties.

I confess to being quite delighted by the couple’s first forays into Sunday Lunchtime COVID-19 entertainment, as much for the bizarre hoops Mrs. Fripp could put her permanently-bemused husband through, in the sake of raising the spirits of those who stumbled onto these little vignettes of, apparently, their life.

According to Willcox, the purpose of these weekly vids was primarily to lift Fripp out of the black dog that permeated him as lockdown locked down, depriving him of both an outlet for and an income for his art. So, on 5th April 2020, those idly browsing the net became party to the extraordinary image of the couple, dressed to the nines, having a bop to Bill Haley’s vintage hit, “Rock Around the Clock.” And looking to be having a whale of a time.
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Mar 312022
 
best cover songs of march 2022
Avhath – Cool / Levitating / Don’t Start Now (Dua Lipa covers)

What’s better than one Indonesian black-metal Dua Lipa cover? Three Indonesian black-metal Dua Lipa covers! Not that you’d ever know these were Dua Lipa songs unless you were listening really closely to the lyrics (and could manage to make them out).

The Band of Heathens – El Paso City (Marty Robbins cover)

During lockdown, Band of Heathens hosted a regular livestream variety show called Good Time Supper Club. One segment, “Remote Transmissions,” featured them covering a new song every episode – over 50 in all. They’re collecting some of the best on a forthcoming album of the same name: Remote Transmissions. “Making records is always about cataloging any point in time. We wanted to celebrate the unique collaborative aspect of the show,” guitarist Ed Jurdi told American Songwriter. “What better way to document the last year than with these songs?” First up is this take on a Marty Robbins country classic. Continue reading »

Nov 012021
 
best cover songs 1991

As regular readers know, every year, at the end of the year, we do a big year-end covers list. This tradition started in 2007 and will continue in a couple months with the best covers of 2021.

But there are so many years before 2007 where we weren’t doing year-end covers lists (and, as far as I’m aware, no one else was either). So once a year, we do a big anniversary post tackling the best covers of a year before Cover Me was born. So far we’ve done 1969, 1978, 1987, 1996, and, last year, 2000.

And for 2021, we look back thirty years, to the heady days of 1991. The days of grunge and acid house, of parachute pants and ripped denim, of The Gulf War and Home Alone. Country music and hip-hop increased their cultural dominance (or really just making their existing dominance known; 1991 is also the year Soundscan made the Billboard charts more authoritative). In a single day, Nirvana released Nevermind, Red Hot Chili Peppers released Blood Sugar Sex Magik, and A Tribe Called Quest released The Low End Theory. Think that’s a fluke? The week before saw massive albums from Mariah Carey, Hole, and Guns ‘n’ Roses (two albums, no less). The week before that came Garth Brooks, Talk Talk, and Saint Etienne.

All of those trends are reflected in the list below. Many of these covers scream “1991!” LL Cool J raps Disney. Courtney Love shrieks Joni. Aretha Franklin tries to new jack swing. A spate of early tribute albums (in fact, last year I wrote a 33 1/3 book about a 1991 tribute album). Other covers are more timeless, from veteran artists doing great work several decades into their careers, or way-underground artists who never even approached the mainstream. The only criteria was quality. Thirty years later, these 50 covers Hole-d up the best.

Check out the list starting on Page 2, and stay tuned for the best covers of this year coming in December.

The list begins on Page 2.

Oct 182021
 
amanda palmer blurred lines

As a part of the DoReMeToo campaign, which involved female artists covering traditionally sexist songs, Kiwi musician Reb Fountain and Dresden Doll frontwoman Amanda Palmer contributed an outstanding and thought provoking mashup. The combination of Robin Thicke’s controversial hit “Blurred Lines” with Nirvana’s grunge anti-ballad “Rape Me” is a stroke of genius. Continue reading »

May 052021
 

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

Patti Smith Twelve

Up until her release of Twelve in 2007, Patti Smith had not been much of one for studio covers, give or take her fabled extended riff on “Gloria,” which remains a live staple. Sure, she had the Byrds’ “So You Want to Be a Rock’n’Roll Star” on her third album, and Dylan’s John Wesley Harding deep cut “Wicked Messenger” on her sixth, but she otherwise largely wrote her own, with her friends and band members. Twelve surprised fans and critics alike, not only by being all other people’s songs, but also by the twelve songs Smith had chosen. Continue reading »

Sep 252020
 

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!

When I first saw the guitarist Charlie Hunter, it was accidental. I was only interested in seeing the sax player and the drummer—two legends—not the guitarist playing with them. If I’d never heard of him, how good could he be? Hunter was in mid-solo when I walked in. Within seconds I was sold—loved the scalding tone, the unhurried feel, the unexpected chords. Then the music shifted gears and the bass line grabbed my attention. I turned to check out the bassist–but no bassist stood on stage. It took some time to figure it out: the bass player was also Charlie Hunter.

On closer inspection, Hunter wasn’t playing a 6-string, but a 7- or 8-string beast—the “extras” were bass strings. The song’s latin-jazz groove pulsed from the bottom set of strings, the leads and melodies spidered out from the top few strings. On top of that Hunter was clearly improvising all of it, working out the bones of the song blow-by-blow with the drummer. The sax player I came to hear stepped up to solo, but by then I was mostly there to see Charlie Hunter.
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