New York City nostalgia sucks. The new HBO show Vinyl sucks, that friend of yours who keeps telling you New York was better in the ’70s sucks, and every Brooklyn band attempting to make NYC sound “great” again sucks. Everything sucks. Except the Strokes, the only band able to turn NYC nostalgia into genuine modern rock ‘n’ roll, in this case by covering the Velvet Underground. How did the Strokes do it? Simple, they stole as much from Television as they did the from Velvets, which explains the more melodic guitar leads and actual use of bass (just kidding, I love you John Cale and Doug Yule). It helped too that Julian Casablancas was an actual New Yorker who could sing Lou Reed’s words seriously and not seem silly.
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, about a man we’ve written of before and surely will again, but perhaps not with as much emotion as we do this week: What’s your David Bowie memory?
Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
I guess I felt a little bad about by my recent damning by faint praise of Annie Lennox, so I’ve been feeling the need to redress with something topnotch. And I have it, with Relations, the 2004 LP by Kathryn Williams, silky-voiced folkish songstrel. I guess she isn’t well known outside her fan-base in the U.K., which is a shame because she damn well should be.
Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
Loaded, released forty-four years ago this week, was the album that marked the end of the Velvet Underground as we knew them – or, more accurately, as we never knew them until after they broke up, when those few thousand who bought the first record formed their own bands and named them as an influence. Trying to make the slickest, most commercial album they could, they still failed to crack Billboard‘s Top 200, but they scored some of the best reviews of their career; Rolling Stone‘s Lenny Kaye wrote, “Each cut on the album, regardless of its other merits, is first and foremost a celebration of the spirit of rock ‘n’ roll, all pounded home as straight and true as an arrow.”
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!
He sounds like a slowed-down Jeff Buckley on female hormones. – Listener quoted in The Times of London
Antony Hegarty has a voice that sounds like it belongs to a Dostoyevsky character. Every song rides on an undercurrent of mournful reflection. – NPR
[W]hat a discovery: a voice like St Theresa’s arrow to pierce the soul. – The Australian
Every emotion in the planet is in that gorgeous voice. – Diamanda Galas
When I heard him, I knew that I was in the presence of an angel. – Lou Reed
“Ceremony” is known in most music fans knowledge as the song that bridged Joy Division’s transition to New Order following the death of the former’s frontman. As one of the last songs Ian Curtis wrote, there are recordings of Joy Division performing it but there is sadly not a fully realised studio version out there.