Sean Lennon has been busy with his other psych-rock duo The Claypool Lennon Delirium of late, but he recently reunited with musical partner Charlotte Kemp Muhl to pay tribute to an obvious influence: Roky Erickson. As The Ghost of a Saber Tooth Tiger (which they often abbreviate to The GOASTT), the two roar through a super-trippy take on the 13th Floor Elevators’ classic “You’re Gonna Miss Me.”
Anais Mitchell & The Staves – Strong Enough (Sheryl Crow cover)
For a few years now, long-running French video company La Blogothèque has been filming a series they call “One to One” at Bon Iver’s various European festivals. They blindfold one audience member and bring them into a private room for a concert for one. Bon Iver did one, and Damien Rice’s is a must-watch. Personally, that experience sounds more awkward than enjoyable – especially with all the cameras in your face – so I’d rather just watch someone else’s personal concert on video. This one is a gem, feature The Staves with Anais Mitchell delivering a gorgeously-harmonized Sheryl Crow cover.
Ashley O [Miley Cyrus] – Right Where I Belong (Nine Inch Nails cover)
The second-most-bonkers cover of the month (just wait ’til we get to “Spicy”) comes from – who else – Miley Cyrus. On a new episode of Black Mirror, she covers/parodies angsty Nine Inch Nails songs as the most insipid of pop jams. Trent Reznor, for one, says he is very much on board (given the lyric changes, these covers required his legal approval). Miley’s songs in character as Ashley O are outrageous and borderline offensive, which is kind of the point. “On a Roll” (FKA “Head Like a Hole”) has gotten most of the attention, but “Right Where I Belong” is more listenable. Marginally.
Let’s be blunt: No one needs novelty songs.
Loosely defined as “a satirical or comedic parody of popular music,” most people instinctively leave the room – or the house – at the first whiff.
Or do they? What, then, explains the enduring popularity of Dr. Demento, querulous-voiced prankster and legitimate, if puzzling, cultural icon? A rock ’n roll writer, label A&R man, and sometime roadie, he began broadcasting a rock and oldies show at Pasadena station KPPC in 1970. He quickly found that the novelty songs he slipped in – notably Nervous Norvus’ “Transfusion,” a truly demented tale about reckless driving, and a precursor to the Cramps’ psychobilly – were what his listeners really wanted to hear.
Now 76, Dr. Demento – a.k.a. Barret Eugene Hansen – ceased terrestrial radio broadcast in 2010, though his program persists online. And now we’re treated to Dr. Demento Covered in Punk, by some counts his 15th official album release. If you’re already hooked on the good doctor’s offbeat charms, you’re likely not in need of encouragement to purchase this collection of supposedly “punk” covers (more on that later) interspersed with the Doctor’s commentary. But can we rightfully recommend this 2+ hour compilation to the rest of the record-buying public? The answer, surprisingly, is: “Yes!” Sort of.
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: What’s a cover song that introduced you to an artist?
I’m not sure there were more great cover songs this year than any other. But there were more good ones.
What I mean by that is, the average quality of the covers we come across in the time we’ve been around has risen, rather dramatically. Whether they’re iTunes homepage singles or some guy emailing us his Bandcamp, more cover songs in 2013 avoid the old pitfalls than ever before. They don’t sound like they were recorded in a cereal box, substitute ear-bleeding volume for actual creativity, or – the worst cover sin of all – try to carbon-copying the original. With the ease of production and distribution available now, artists seemed to record covers only when they felt they had something to add, and do a halfway decent job committing those ideas to 1s and 0s.