Sep 302016
 
Fugees

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. Continue reading »

Aug 262016
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

hem

Writing an “Under the Radar” piece inevitably forces the writer to address the elephant in the room: Why is an artist you like enough to spend time researching and crafting a piece about considered to be “Under the Radar” by the vast majority of people? Hem, a band that formed in 2002 and sporadically released music until last year, would seem to have had so many advantages – intelligent songwriting, fine musicianship, a distinctive sound and, maybe most importantly, a lead vocalist with a scarily gorgeous voice. Seven of their songs were used in national commercials for Liberty Mutual Insurance, a classic Christmas cover was used in an ad for Tiffany’s, and other songs have appeared in television shows. They created music, which was well received by The New York Times, for a production of Twelfth Night for New York’s legendary Shakespeare In The Park program, featuring Anne Hathaway, Audra McDonald and Hamish Linklater. They were touted by outlets as diverse as NPR and Entertainment Weekly. Yet it appears that radar just doesn’t pick them up.
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Aug 242016
 

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, from Cover Me staffer Jordan Becker: What’s your favorite foreign-language cover song?
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Aug 192016
 

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

sketch10

With Out of Time, R.E.M. completed their transition from college band to global stardom, and they wanted their next album to move away from Time‘s gentle lushness and move into harder-rocking territory, more suited to the grunge-y times. But when the band members reconvened, they found they were no longer of a mind to write loud ‘n’ angry. Result: Automatic for the People, a meditation on loss that’s downbeat without being depressing, from a band turning away from a world begging to be conquered so it could consider its disquiet. The record wasn’t what they originally promised, but it didn’t disappoint either – it went top-five worldwide, and today it’s considered the band’s masterpiece, the kind of album you put on and then you just lie down and you let it engulf you (or so it is said).

“Every one of its 12 songs is worthy of attention,” MOJO said, and in 2007 the website Stereogum proved it with their tribute album Drive XV: A Tribute to Automatic for the People. A celebration of Automatic‘s 15th anniversary, the tribute featured artists who grew up with R.E.M. as a constant in their lives, and hearing that familiar band speaking with a new voice clearly made an impression on these musicians who were still discovering their own voices and the ways they could be raised.
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Feb 102016
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

sons of bill

Sons of Bill hails from Charlottesville, Virginia. The band was formed by brothers James, Sam, and Abe Wilson, whose father Bill is a professor of theology and Southern literature at the University of Virginia. The lineup, filled out by Seth Green and Todd Wellons, has honed their sound across four albums. Their latest, Love and Logic, is a huge step forward in the band’s literary and thoughtful brand of Southern rock. Ken Coomer, of Uncle Tupelo and Wilco, produced the record, saying it “takes [him] back to some of the creative heights” he found with the latter band. That’s high praise indeed, but Sons of Bill deserves it. They’ve toured the States and Europe relentlessly, working hard to win fans over one at a time both with their original music and with a selection of covers. The songs they choose reflect their wide range of influences. Here’s some of their best cover work.

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Jan 292016
 

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

Willie-Dixon

Willie Dixon was a talented stand-up bass player, producer, and occasional vocalist for Chess Records, but his greatest gift lay in his pen. One cursory glance at his song titles – “Back Door Man,” “Little Red Rooster,” “I Ain’t Superstitious,” and “You Can’t Judge a Book By the Cover,” to name just a “Spoonful” – reveals what an impact he had not only on Chicago blues, but rock ‘n’ roll as well. No self-respecting sixties band with a blues foundation would dream of taking the stage without a working knowledge of Dixon’s songs, and he wrote more than 500 of them – songs that sounded immortal from the moment they were first created.
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