Nov 102017
 
best covers 1987

Last year I did a roundup of the Best Cover Songs of 1996. It was a fun project to retroactively compile one of our year-end lists for a year before Cover Me was born. I wanted to do it again this year, but continuing the twentieth-anniversary theme with 1997 seemed a little boring. Turns out 1997 also featured a bunch of Afghan Whigs covers.

So to mix it up, I decided to go a decade further back and look at 1987. Needless to say, the landscape looked very different for covers. For one, far more of that year’s biggest hits were covers than we saw for 1996. The year had #1 cover hits in Heart’s “Alone,” the Bangles’ “Hazy Shade of Winter,” Los Lobos’ “La Bamba,” Tiffany’s “I Think We’re Alone Now,” Club Nouveau’s “Lean on Me,” and Kim Wilde’s “You Keep Me Hangin’ On.” Plus ubiquitous hits that didn’t quite top the charts, but remain staples of the songs-you-didn’t-know-were-covers lists, Buster Poindexter’s “Hot Hot Hot” and George Harrison’s “Got My Mind Set On You.” Continue reading »

Jan 252017
 
leonard cohen tribute

Last night, Brooklyn’s Music Hall of Williamsburg held an epic Leonard Cohen tribute show, bringing together Cohen’s peers and younger admirers for a 22-song blowout of tribute covers. From a killer instrumental opener of “Hallelujah” by Delicate Steve – a smart move, getting that out of the way up front with a left-field guitar version that doesn’t attempt to compete with Jeff Buckley – the sold-out crowd sang along to Cohen many profound lyrics, and a few of his profound ones too (Lenny Kaye of the Patti Smith Group led a rousing holler through Cohen’s dumbest song, “Don’t Go Home with Your Hard-On”).

Many of performers had personal Cohen stories to share. “I met Leonard Cohen at a BBC session in 1967 – but I can’t remember anything about it,” Richard Thompson quipped, while Josh Ritter told a yarn about chasing Cohen down an alley backstage only to run headfirst into a truck and miss his once chance. Richard’s son Teddy Thompson recalled Cohen once asking him what he was working on. When he replied that he was making a country album, Cohen said cryptically, “I went country myself, once…” Thompson then covered one of Cohen’s most country songs, “Ballad of the Absent Mare.” Continue reading »

Jun 262014
 

1994. A brilliant year for music. In my native UK, we heard the first rumblings of Britpop with the release of Oasis’s ‘Live Forever’, ‘Parklife’ by Blur and Primal Scream’s ‘Rocks’. Stateside, Green Day released their classic ‘Dookie’, Johnny Cash had his his renaissance with his first Rick-Rubin produced album, and Outkast unleashed their debut. Continue reading »

Apr 232014
 

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 your favorite cover of your favorite Beatles song?
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Jul 122013
 

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

Considering The Beatles’ impact on music, pop culture and beyond, surprisingly few filmmakers have taken on the challenge of telling the legendary band’s story on the big screen. Director Iain Softley stands apart as one of the few who wasn’t daunted; his very first film, Backbeat, tells the story of the Beatles’ raucous early years as a cover band, performing in the seedy red-light district of Hamburg, Germany. The film concentrates on the love triangle amongst John Lennon, then-bassist Stuart Sutcliffe, and German photographer Astrid Kirchherr.
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Feb 022012
 

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

Over the years, tribute albums have been given a bad name. Nowadays they frequently consist of either inferior bands covering the works of superior bands in the hopes of getting noticed and having talent hopefully rub off on them, or of well-known bands dragooned into making product that’s sure to shift units, radio-friendly and otherwise. There’s also an excess of narcissism and/or irony on too many of these albums, where the inherent message isn’t “Look at this song” but “How funny/awesome is it that I’m doing this song, when it’s so obviously a song I should never do because I play in a different genre!” Continue reading »