Arctic Monkeys got a lot of attention covering the Strokes last week (especially because on his new album, Alex Turner sings: “I just want to be one of the Strokes”). But I preferred their wonderfully sleazy “Lipstick Vogue” cover, played in honor of Costello as he recovered from cancer surgery. Turner’s a product of his influences; in addition to the Strokes and Elvis, he appears to have his Nick Cave snake slither down cold.Continue reading »
That’s A Cover? explores cover songs that you may have thought were originals.
Time travel is impossible, say some physicists. But ask any true music fan if it can be done, and the answer will be an enthusiastic “Yes!” And it’s a lot easier than you might think.
How? Just traipse on over to your laptop (or, more likely, the smartphone currently warming your pocket). Punch in “Sheryl Crow First Cut is the Deepest,” and within seconds you’ll be transported back to 2003, Crow’s supple mezzo-soprano filling your earbuds and floating out over a lovely mandolin and steel-string guitar intro. It’s a powerful song, too: An affecting plea for love after the scorched-earth anguish of an affair gone awry.
When it was released, Crow’s song was a perfect encapsulation of that era’s modern, high-gloss folk-rock: Well-oiled, heavy on heartstring-tugging touches and somewhat light on passion. It was a hit, too, peaking at #14 on the Billboard Hot 100 in March of 2004. But as regular Cover Me readers, you’re already bracing yourself for the inevitable pull of the rug: Sheryl Crow didn’t write “The First Cut Is the Deepest,” nor was she even the first to chart with it. Continue reading »
Neil Young recently cancelled his Pearl Jam Rock and Roll Hall of Fame induction speech due to illness (he’s reportedly fine now). While he takes a break though, new Neil covers keep rolling in. Two particularly great ones have surfaced in the last month, tacking a pair of Young’s loudest and most fiery songs.
First up, composer Teho Teardo and singer Blixa Bargeld (of Einstürzende Neubauten/Nick Cave and the Bad Seeds fame) cover “Hey Hey, My My” on their new EP together Fall. A weird and wonderful production, it brings together bass clarinet, musical saw, and a six-piece string section under Bargeld’s mesmerizing line readings. It’s one of the best Neil covers we’ve heard in recent years, surprising and unexpected.Continue reading »
Yesterday, a tweet from Rolling Stone writer Rob Sheffield caught our eye. It was a photo of Sheryl Crow holding up a nightmare-clown drawing of her own face. When we Googled to find out more, we stumbled upon an insane tribute album we’d missed, apparently meant to accompany the zine she’s holding up. The zine was forgotten as we burrowed deeper into the weird, weird world of the free Bandcamp tribute album Summer of Sheryl.
Crow’s hits are all high-gloss productions, and these 17 covers are anything but. Basic keyboard beats and cheap guitar sounds abound, with many tracks sounding like they were taped into a $10 cassette recorder. Summer of Sheryl also violates the cardinal rule of tribute albums – only one version of each song – by doubling up on hits “Every Day Is A Winding Road,” “Soak Up the Sun,” and “If It Makes You Happy.” There’s three separate covers of “Strong Enough,” plus a cover of the song Crow apparently wrote for a Katie Couric talk show.Continue reading »
When FIDLAR covers a song, you know you are in for a ride. The skate rockers often cover songs in an abrasive, in-your-face manner, but still manage to expose a certain sincerity that often gets lost in overt punk attitudes. Their rendition of Sheryl Crow’s “If It Makes You Happy,” is no exception.Continue reading »
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.Continue reading »