Oct 132021
 

‘The Best Covers Ever’ series counts down our favorite covers of great artists.

best paul simon covers

“I usually come in second to Dylan,” Paul Simon once said, “and I don’t like coming in second.” Indeed, he’s had to deal with it literally ever since he was born, in 1941. We already celebrated Bob Dylan’s 80th birthday in May, and today we turn to the man Dylan has called “one of the preeminent songwriters of the times,” Paul Simon, as he hits his own 80th. Simon’s in the rarified air of someone whose songs get covered almost as much as Dylan’s (ugh – second place again), so for this month’s Best Covers Ever, we’re diving into covers of the entire Paul Simon catalog, both solo and with Simon and Garfunkel.

Another thing Dylan once said about Simon, in relation to his own music, is this: “I’m not Paul Simon. I can’t do that. My songs come out of folk music and early rock n’ roll, and that’s it. I’m not a classical lyricist, I’m not a meticulous lyricist. I don’t write melodies that are clever or catchy.”

False modesty aside, Dylan hits on some of what makes Simon’s work so beloved by other musicians. His melodies are clever and catchy. His lyrics are meticulous. In both words and music, Simon can use a little to say a lot. His songs have strong cores, but leave a lot of space for other artists to play around with. So it’s no surprise that the list below spans genres from punk, dance music, gospel, and more. You’ll hear every sound except one: Silence (sorry). No matter how afield the songs roam, though, they still sound like Paul Simon.

So enough talk about Simon being a perennial silver medal winner. His craft and his talent have earned him and his songs a place at the top of the medal podium, and these fifty covers prove it.

The list begins on Page 2.

Sep 282018
 

‘The Best Ever’ series counts down our favorite covers of great artists.

I’ve been watching early episodes of Saturday Night Live recently. On the fifth episode ever – back when it bore the shorter title Saturday Night – the host was comedian Robert Klein. Two musical guests joined him: Loudon Wainwright III and ABBA.

Wainwright’s performance plays it straight, just him and his guitar on stage. With ABBA, though, the show undermines the Swedish quartet from the start. They have to perform “S.O.S.” on a sinking Titanic set, competing for screen time with Klein and some SNL writers pretending to drown in vintage dining-lounge attire. Even when the camera lands on ABBA, it waves and swoops to indicate they’re going down with the ship too.

The second performance, “Waterloo,” does them even dirtier. Before the first verse even ends, these words pop up on the screen: “Right now ABBA is lip-syncing. It’s not their fault. The tracks didn’t arrive from Sweden.” The band appears to have no idea they are being thus undermined, even as the audience titters. I’ve watched the entire first season now, and haven’t seen any other musical performer treated this way. (The individual videos sadly aren’t anywhere embeddable, but the full episode is on Hulu).

This SNL appearance neatly embodies the ABBA dichotomy. On the one hand, they were such huge stars that the show simply had to book them. On the other, they seemed so irredeemably uncool that the show felt obliged to mock them so it didn’t lose its cultural cachet. And forty-plus years on from that performance, we treat them the same way. We’ll sing and dance along to their songs – particularly after a drink or two – but only the most ardent poptimist would put ABBA anywhere but the “guilty pleasure” category.

True, the productions may be dated, and the outfits ridiculous, but at their core the songs are rock-solid. Songwriters Benny Andersson and Björn Ulvaeus, sometimes aided by band manager Stig Anderson, penned songs that still rise above the cheese-tacular performances. And there’s no better evidence than in the thousands of genre-spanning covers. Everyone from Richard Thompson to Portishead has covered these songs – and not with a wink and a nudge either, but honestly finding timeless lyrics and melodies beneath ABBA’s very of-its-time presentation.

Cher did it too, releasing her ABBA tribute album today to piggyback on the second Mamma Mia! movie’s success (commercial success, that is, as the reviews were not kind – a true ABBA divide, there). So in honor of that, we decided to pick out the best ABBA covers ever. No, none of Cher’s make the list. But thirty other artists do.
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Feb 162017
 

Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.

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Seuras Og is 59 and ought to know better. Tipped toward journalism by his careers teacher, he instead opted for a career in Family Medicine. He lives in Lichfield, England. His Gaelic mother would be proud to see his nom de plume, a direct translation. Less proud that he is still talking about pop music in his 60th year. This is his 3rd year of writing his essays for Cover Me. He particularly enjoys drafting whole album covers like Legend or Hunky Dory.
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Apr 252015
 

They Say It’s Your Birthday celebrates an artist’s special day with other people singing his or her songs. Let others do the work for a while. Happy birthday!

Björn Ulvaeus may not be a household name, but the same cannot be said of ABBA, the band he cofounded with his songwriting partner Benny Andersson. This is a band whose greatest-hits album Gold went to number one in England on five different occasions over a span of sixteen years. A band who numbered Bono, Kurt Cobain, and Vladimir Putin among their biggest fans. A band whose breaking-up songs rivaled Rumours for intraband romantic schadenfreude.

Ulvaeus built on this legacy after ABBA dissolved. He cowrote the music for the stage show Chess, the origin of “One Night in Bangkok.” The ABBA-based stage show Mamma Mia! has grossed over two billion worldwide; the movie, over $600 million. Speaking of money money money, today he is a key figure in turning Sweden into a cash-free society. He had an umlaut in his name thirty years before Motörhead did. Not even his distressing resemblance to Kato Kaelin could put an end to his coolness.
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May 232014
 

Some covers are more equal than others. Good, Better, Best looks at three covers and decides who takes home the gold, the silver, and the bronze.

 
Tim Buckley first debuted “Song to the Siren” on the final episode of The Monkees, and as a folk song, it was lovely and approachable. Then he refused to record it for three years – the line “I’m as puzzled as the oyster” had drawn mocking, and Buckley felt the song too flawed to release, which meant Pat Boone, of all people, was the first to issue it on vinyl. When Buckley finally followed suit, on 1970’s Starsailor, he revealed a changed song (and not just the switch from “oyster” to “newborn child”). If the original take was a quiet den, here was a cavernous ballroom with crumbling pillars, as Buckley’s exotic, five-octave voice stretched through otherworldly echoes, with nothing to hold it up and nothing to hold it back.
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