Sep 042019
 

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 cover songs

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…

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Jun 062019
 
mike love ramones cover

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 »

Apr 302019
 
best cover songs of april
Beyoncé – Before I Let Go (Maze cover)

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 »

Apr 162018
 

In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.

joey ramone covers

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.

We’re talking, of course, about Joey Ramone. Continue reading »

Apr 122018
 

In Pick Five, great artists pick five cover songs that matter to them.

juliana hatfield covers

Juliana Hatfield is an old hat at making an unlikely song her own. Earlier this year, she made both our Best Cover Songs of January and March roundups. A couple years before that, her version of “Needle in the Hay” was a high point of a Wes Anderson tribute album. A couple years before that, she released a terrific self-titled covers album of her own. I mean, how far back do we want to go here? Hell, she even made our Best Cover Songs of 1996 list! Suffice to say, she knows how to crush a great cover.

That’s why we were so excited to hear about Juliana Hatfield Sings Olivia Newton-John, which comes out tomorrow. It more than lives up to our high expectations. Hatfield takes on hits like “Physical” alongside plenty of deep cuts that prove this is not some gimmick; she’s a genuine fan. Continue reading »

Jan 232018
 

review dr demento covered in punkLet’s be blunt: No one needs novelty songs.

Loosely defined as “a satirical or comedic parody of popular music,” most people instinctively leave the room – or the house – at the first whiff.

Or do they? What, then, explains the enduring popularity of Dr. Demento, querulous-voiced prankster and legitimate, if puzzling, cultural icon? A rock ’n roll writer, label A&R man, and sometime roadie, he began broadcasting a rock and oldies show at Pasadena station KPPC in 1970. He quickly found that the novelty songs he slipped in – notably Nervous Norvus’ “Transfusion,” a truly demented tale about reckless driving, and a precursor to the Cramps’ psychobilly – were what his listeners really wanted to hear.

Now 76, Dr. Demento – a.k.a. Barret Eugene Hansen – ceased terrestrial radio broadcast in 2010, though his program persists online. And now we’re treated to Dr. Demento Covered in Punk, by some counts his 15th official album release. If you’re already hooked on the good doctor’s offbeat charms, you’re likely not in need of encouragement to purchase this collection of supposedly “punk” covers (more on that later) interspersed with the Doctor’s commentary. But can we rightfully recommend this 2+ hour compilation to the rest of the record-buying public? The answer, surprisingly, is: “Yes!” Sort of.

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