Hot off the heels of our The Best Talking Heads Covers Ever countdown a few months ago, there’s already another contender: The Values’ new version of “This Must Be the Place (Naive Melody),” premiering here. On their upcoming EP Imposter, the Brooklyn duo of Mason Taub and Evan Zwisler give the song a modern electropop sheen, without losing some of the Afrobeat touches of the original.
Welcome to the third installment in our Best Cover Songs of Yesteryear countdown, where we act like we were compiling our usual year-end list from a year before we – or the internet – existed. Compared to the first two, this one has significantly less grunge than 1996 and less post-punk than 1987. It’s hard to have post-punk, after all, before you have punk, a new genre starting to hit its peak in 1978. And don’t forget the other big late-’70s sound: disco. Both genres were relatively new, and super divisive among music fans. Lucky for us, both genres were also big on covers.
Disco, in particular, generated some hilariously ill-advised cover songs. We won’t list them all here – this is the Best 1978 covers, not the Most 1978 covers. If you want a taste (and think carefully about whether you really do), this bonkers take on a Yardbirds classic serves as a perfect example of what a good portion of the year’s cover songs looked and sounded like:
Bono, whom Angélique Kidjo has taken heat for performing with on account of the collaboration signaling a lack of African purity on her part, famously and pretentiously begins the bombastic and mostly successful cover of “Helter Skelter” that kicks off U2’s concert album Rattle and Hum by proclaiming, “Charles Manson stole this song from the Beatles. We’re stealing it back.” I was reminded of this line when I eagerly volunteered to review Kidjo’s full album cover of Talking Heads‘ most Afro-inspired album, Remain in Light. I anticipated the album to be an act of musical liberation that brought traditional instrumentation to the most famous set of songs that had appropriated polyrhythmic composition in service of the definitely Western agenda of documenting David Byrne’s typically anxious anticipation of the Reagan years. The review, I thought, was going to write itself. It is inevitable, I imagined concluding, that removing the veil of cultural appropriation allows us to feel like we hearing these songs for the first time, “same as it ever was.”
This will not be that review.
April was the best month for covers of the year so far. There’s no particular reason for that, I suspect. These things just ebb and flow. But the fact remains that it was a proverbial embarrassment of riches, as the length of the list below confirms.
As always, there’s no quality difference between the main picks and the honorable mentions; a cover’s categorization is only determined by how much I had to say about it.
When Ethan Gold began recording cover songs in his bedroom closet, they were more than his tributes to artists that mattered to him – they were therapy. Gold had sustained a head injury in a warehouse accident that left him unable to speak, let alone do the complex sound engineering his work required. He had also just been forced to leave the condemned residence that inspired his previous album, Songs from a Toxic Apartment. So these covers, one-take performances filmed for YouTube, were Gold’s road to recovery. Now they’ve been compiled and released as a digital-only album, Live Undead Bedroom Closet Covers, and it’s a pleasure to see that his recovery is complete.
Disclaimer: Our monthly “Best Cover Songs” aren’t ranked, and the “Honorable Mentions” aren’t necessarily worse than the others (they’re just the ones we had the least to say about).
Angelique Kidjo – Born Under Punches (Talking Heads cover)
Goddammit, Angelique. We spent weeks compiling our Best Talking Heads Covers post, and only days after we finish, you announce a full Remain in Light tribute album. Judging from this first single, it’s going to be pretty amazing too.