Sep 142018
 

In the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!

Airborne Toxic Event covers

It’s been a while since the Airborne Toxic Event has raised its collective voice. They’ve made many hints about an upcoming album, but no soap radio. They’ve played just half a dozen gigs in the last two and a half years. Founder Mikel Jollett keeps up a steady stream on his Twitter page, but the band’s tweets have slowed to a trickle. Last month they did note the tenth anniversary of the release of their debut album, which prompted one reader to ask if they’d ever release any new music. “Yes,” came the response, but with no elaboration. It’s enough to give the heebie jeebie jitters to the band’s sizable cult, who want to know what they’re going to do next and when they’re going to do it… if at all.

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Sep 072018
 

kilonovaWilliam Elliott Whitmore is 40, but he has always sounded like a much older man, with a deep, soulful voice that gives everything he sings a certain gravitas.  Think Tom Waits, Leonard Cohen, or late Dylan, or most of all, Johnny Cash at his most apocalyptic.  If Whitmore sang “Don’t Worry, Be Happy,” you’d still worry, and probably be unhappy.  I first heard Whitmore in 2006, opening for Lucero, at the Bowery Ballroom in New York, and was immediately transfixed by his timeless voice, dark songs, austere banjo, guitar and foot stomping accompaniment, and intense performance.

Born and raised on a 150-acre farm in southeastern Iowa, which he inherited from his parents and still owns, Whitmore grew up singing and playing guitar and banjo, with musical influences that started with country and moved toward punk as he got older.  At a certain point, though, Whitmore realized that he needed to focus on the folky, rustic, blues music that he grew up on–but with a punk edge.

So when Bloodshot Records released Kilonova, an album of covers of (mostly) lesser known songs from many musical eras, the question was, how would such a distinctive artist put his stamp on this block of diverse songs? “Diverse” barely begins to tell the story–artists range from Dock Boggs, to Johnny Cash,  to the Magnetic Fields to Bad Religion.

In short, the answer is, remarkably well.
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Jul 312018
 
Arctic Monkeys – Lipstick Vogue (Elvis Costello cover)

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 »

Apr 302018
 
best cover songs april

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. Continue reading »

Mar 302018
 
best cover songs of march

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. Continue reading »

Mar 102017
 

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

Scratch_My_Back

Until 2010’s Scratch My Back appeared, Peter Gabriel had been an artist more covered than covering – arguably a pity, given the cracked wistfulness of his croaky beauty. But I guess if you can write material of the quality and diversity that he has, why bother with someone else’s material? The problem was, Gabriel hadn’t been writing that kind of material – this was his first album in eight years.

So was Scratch My Back just, as covers projects can so often be, a stopgap sales pitch to keep his brand alive during a creative lull? Who knows? I think not and hope not, feeling this a deliberate if somewhat failed experiment on two levels. Flawed, maybe, rather than failed.
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