All week we’ve been running features on every artist inducted in the Rock and Roll Hall of Fame’s unusually strong 2019 class. But the biggest tribute goes to the band least excited about the honor. And that’s maybe as it should be.
Their unenthusiastic reaction – as I write this, it’s not even clear if any of them will show up – reminds me of when Bob Dylan first played Obama’s White House. Bob didn’t come to his own rehearsal, or to the customary photo op with the president. He turned up at the last minute, played his songs, shook the President’s hand, and immediately left the building. And as Obama told Rolling Stone: “That’s how you want Bob Dylan, right? You don’t want him to be all cheesin’ and grinnin’ with you. You want him to be a little skeptical about the whole enterprise.”Continue reading »
In Pick Five, great artists pick five cover songs that matter to them.
Singer-songwriter Nicki Bluhm boasts a lot of experience with collaboration. Her new album To Rise You Gotta Fall (hear a track below) features two co-writes with her friend Ryan Adams, and in recent years she’s toured in Phil Lesh’s band and as part of the Incredible Stringdusters. When last I saw her live, she was singing “The Weight” in Levon’s barn as part of Amy Helm’s female-musicians collective Skylark.
Follow all our Best of 2017 coverage (along with previous year-end lists) here.
Year-end lists are a time to look back. That’s something we’ve been doing a lot of this year.
See, we turned ten years old in 2017 – practically ancient in internet-blog terms – so we’ve indulged in what we feel is well-earned nostalgia. At the beginning of the year, each of our writers picked the ten most important covers in their life (see them here and here and here and here and here and here and here and here and here and here). We even listed the ten most important covers in Cover Me‘s life, from the song that inspired the site to our very first Best of the Year winner.
Then, to cap things off, in October we commissioned a 25-track tribute to the cover song itself – which you can still download for free. We love the covers everyone contributed so much, incidentally, that we didn’t consider them for this list. It’d be like picking favorite children – if you had 25 of ’em.
Oh, and have I mentioned I wrote a book? … What’s that you say? I mentioned that constantly? Well, I’m quite proud of it. It’s called Cover Me: The Stories Behind the Greatest Cover Songs of All Time and it makes a great Christmas gift and – ok, ok, I’ll stop. You can find plenty more about it elsewhere.
Suffice to say, there’s been a lot of looking back this year. And we hope you’ll indulge us this one last glance rearward before we leap into 2018. Because if it’s been a hell of a year for us, it’s certainly also been a hell of a year for the cover song in general. Some of this year’s list ranks among the best covers we’ve ever heard, period. So dig in, and thanks for your support this past decade.
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).
Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
Are the Decemberists a band that “craft theatrical, hyper-literate pop songs that draw heavily from late-’60s British folk acts like Fairport Convention and Pentangle and the early-’80s college rock grandeur of the Waterboys and R.E.M.,” as described by Allmusic, or are their songs an “unbearable exercise in indie high-quirkiness, with each new release deepening the impression that Meloy thinks he’s Edmund Spenser or, at least, the only rock singer smart enough to keep a copy of The Faerie Queene on his bedside plinth,” as writer Jody Rosen wrote in Slate?
Although I lean toward the former, I can understand believing the latter.
There can be no doubt that the Decemberists’ focus on tales of pirates, highwaymen, shape-shifters, and interpretations of myths and legends from around the world, plus primary lyricist Colin Meloy’s empty-the-thesaurus writing style, not to mention their practice of performing live historical reenactments in their shows, set them up for being mocked by some, and beloved by others. And that is what makes life interesting. Continue reading »
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
Where I come from, Shel Silverstein was a demigod. —David Mamet
Shel Silverstein was the unofficial poet laureate of everyone’s childhood. His books — The Giving Tree, A Light In the Attic, Where the Sidewalk Ends — were instrumental in showing that kids could handle some of the adult themes in life without becoming degenerates, or maybe even that it was okay to be a degenerate. That’s not to say the bluenoses didn’t try to stop him: A Light in the Attic placed midway in the top 100 books banned from the 1990’s. Some bristled at Silverstein’s adult side, even though he saved his more salacious material for songs and adult poems that weren’t meant for children. That material is definitely a product of the sixties and seventies, detailing everything from every sexual fetish imaginable (“Freakin’ At the Freakers Ball”) to every drug available (“The Perfect High”). Some of it we’ll feature today, the 14th anniversary of his death (or at least of the day they found his body). Read on.Continue reading »