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, from staffer Jordan Becker: What’s a great cover of a cover? Continue reading »
In 2019, Cover Me wrote about more new covers than in any year in our 12-year history. I know; I checked the numbers. Our News team wrote amazing stand-alone stories on sometimes tight deadlines, adding context and research beyond “here’s a new cover” quickie. Plus, we rounded the best of the best into monthly 30+ lists, and added even more for supporters of our new Patreon. Even our Features team, who ostensibly couldn’t care less whether a cover came out last month or last century, seemed to be constantly finding new things to slip into their deep dives.
The point here is not to toot our own horn… well, that’s not entirely the point. What I want to do is emphasize just how high the bar to appear on this list has been set. Calling these covers great almost does them a disservice. There were way more than 50 great covers in 2019. In fact, we’ve already got 150 more bonus tracks lined up for Patreon supporters (which, I know I mention it a lot, but it’s how we keep this site afloat, so please consider supporting us if you like what we do). Honestly, we could throw all of the above in the trash and still come up with a pretty impressive batch of 2019 covers. But these 50 below – these are the cream of the crop, the belles of the ball, the toppermost of the poppermost.
You won’t agree. I guarantee it. As you go through this list, there will be at least one cover you hate. Maybe more than one. And if you followed cover news yourself this year, you’ll probably be outraged when a personal favorite placed too low, or didn’t make it at all. Great! That’s the beauty of these lists: It’s all opinion. Extremely educated opinions in our cases – I can pretty much guarantee that we collectively listened to more 2019 covers than any other site out there – but opinions nevertheless. So dive in and discover something new. Then help us discover something new by adding your own favorites in the comments.
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!
L7 formed in Los Angeles, outside of the riot grrrl hub of the Pacific Northwest, in 1985 with just two members. Donita Sparks and Suzi Gardner both provided guitar and vocals. Jennifer Finch on bass and Anne Anderson on drums joined shortly after. The bass and drum spots changed throughout the band’s career, but Sparks and Gardner have been through it all. L7 may not formally identify as a riot grrrl band, fitting more into the grunge scene, but their timing and musical content make them relevant to the broader movement.
L7’s politics are no secret. Early in their career, the band organized the Rock for Choice benefit concert to raise money for abortion access. This benefit, started in 1991, continued every year until 2001, when the band started their “indefinite hiatus.” The venue featured both fellow riot grrrl bands like Bikini Kill and allies like the Foo Fighters and the Red Hot Chili Peppers. L7’s activism is still strong. Their first new song after the conclusion of their 18-year hiatus, “Dispatch from Mar-a-Lago” was released in 2017. They followed this with “I Came Back to Bitch” in 2018, with lines like “throw some bloody rags of fun” referring to their earlier days when Donita Sparks took out her tampon on stage and threw it into a mud-throwing crowd. (Forget bra burning, tampon throwing is the riot grrrl way.) Their latest album, this year’s Alfa Y Omega, even includes the line “make no mistake – lock us up, lock us up” in the song “Burn Baby.”
Outside of their original work, you can find hints of L7’s feminism in their covers. Hear/see for yourself…
No one knows Mike Love’s place in rock n’ roll history better than Mike Love himself. In his 2016 memoir Good Vibrations: My Life as a Beach Boy, Love summed up his legacy perfectly, writing: “For those who believe that Brian [Wilson] walks on water, I will always be the Antichrist.” In a move sure to send the legions of “Love-haters” into fits of online rage, he recently recorded a cover of the Ramones’ “Rockaway Beach.” The track was released as a single in advance of Love’s upcoming solo record 12 Sides of Summer.Continue reading »
Last week, Beyoncé surprised-dropped her live album Homecoming. It accompanied the Netflix film of the same name, which immortalized her lionized 2018 Coachella performance. The biggest surprise of all was the bonus track: a cover of Maze’s 1981 “Before I Let Go.” The original song wasn’t a huge hit when it first came out, but has grown to be referred to sometimes as the “black national anthem.” Beyoncé brings it right up to the present with a big production including marching band, new rap verse, and a sample of New Orleans bounce artist DJ Jubilee.Continue reading »
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
Jeffrey Ross Hyman was an odd boy. Disturbingly tall, gangly and gaunt, his facial features -typically hidden under an unruly thatch of hair – seemed disproportionate to his angular head, giving him a distinctly amphibian cast. Crippled by obsessive-compulsive disorder so severe that his mother feared he would spend his life housebound, he instead channeled his anxiety and alienation into music, starting a band with three other self-described “creeps” from the neighborhood, giving himself a new name and in the process changing pop music forever.
Onstage, he was transformed: Long limbs draped casually around an overextended mic stand, left heel pumping to the blistering jackhammer beat of his unstoppable band, it was impossible to take one’s eyes off this otherwise gawky and unsteady-seeming kid.