It’s not nearly often enough that pets are credited on songs, but that’s just what Bethany Cosentino has done on the new Best Coast cover of Roy Orbison‘s “Crying” – officially, that is, Best Coast featuring Snacks the Cat. It’s no secret that the band loves cats, but it’s a pleasant treat to hear a track rounded out with meowing.
In the second installment of their four-part “State Songs” series, A.V. Club and the state of Texas have Jonathan Meiburg (of Shearwater and Okkervil River) taking on Roy Orbison‘s classic “It’s Over.” Unlike our beloved A.V. Undercover, the series isn’t specifically a cover series; it’s just our incredible luck that a cover is what Meiburg chose to play.
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!
At this writing, Glen Campbell is taking his Farewell Tour. This is not one of those concert tours by a celebrity announcing retirement yet again; rather, it’s Campbell taking a valedictory lap around the country before the ravages of Alzheimer’s disease rob him entirely of his gifts. Reviews of these shows note the occasional stumbles, but also make mention of the standing ovations, Campbell’s still-unerring guitar work, and the fact that this is a man who doesn’t need to make new fans – he needs to say good-bye in style, and he’s doing exactly that.
When people look back in 2011 in music a decade from now, one name will come to mind: Adele. In our little world of cover songs, she dominated. Everyone covered Adele this year. It’s not just that we saw more covers of “Rolling in the Deep” than any other song; they beat out second place (probably “Pumped Up Kicks”) by like a factor of five! We generally try to look for larger cover trends in these annual wrap-ups, but it’s hard to remember anything else from this year except the year-long onslaught of Adele covers hitting our mailbox.
There’s only one “Rolling in the Deep” cover in this year’s list though. The rest are all over the place. Some of the artists listed built their covers with lush soundscapes, thick beats, and intricate string work. Others just took guitars or pianos and bowled us over with the emotion in their voices. There may not be much of an overarching “Year in Covers” narrative, but that means there’s a cover or two for everyone. From feel-good takes on rap songs to kill-yourself versions of pop songs, this year’s list features flips, flops, and genre switcheroos of all sorts. A good cover should be informed by the source material but stand on its own, and we’ll be unrolling the 50 finest examples of songs doing just that all week. Start with #50-41 on the next page and check back daily as we count down to the best cover of 2011.
Quickies rounds up new can’t-miss covers. Download ‘em below.
• When L.A. punk band the Bronx formed side project Mariachi El Bronx, many assumed it was a gag. Two albums into their new mariachi-band career, they clearly aren’t joking. Their new Roy Orbison cover shows some serious Mexicali chops (though we still want to hear what a punk-Bronx cover of this would sound like).
MP3: Mariachi El Bronx – Only The Lonely (Roy Orbison cover)
It’s unsettling to think what might have become (or not become) of rock music if not for one man in Memphis and his modest recording studio. The talent that Sam Phillips welcomed into his Memphis Recording Service in the early 1950s was legendary and included B.B. King, Rufus Thomas, Howlin’ Wolf, Junior Parker and Ike Turner. These early blues and R&B artists gave Phillips and his fledgling label, Sun Records, some minor notoriety that would soon attract rock, country and rockabilly upstarts such as Johnny Cash, Jerry Lee Lewis, Carl Perkins, and of course, Elvis Presley. His willingness to produce raw-sounding records featuring reverb and distortion caused some to say Phillips didn’t know what he was doing, and others to praise his unique genius. Perhaps Phillips’ biggest stroke of genius was seeing the potential in the young Presley boy that just kept hanging around. Pairing Elvis with guitarist Scotty Moore and Bill Black on bass in the summer of 1954 initially led to a lackluster session until, after a break, Elvis began goofing around with Arthur Crudup’s “That’s All Right.” Instantly Phillips knew he was hearing something special – the white artist with the “negro” sound that he had been seeking.