Dec 162016
 

Follow all our Best of 2016 coverage (along with previous year-end lists) here.

best cover songs

2016 in music will be most remembered for one thing: death. It seemed like an unprecedented list of major musical figures left us this year: David Bowie, Prince, Merle Haggard, Leonard Cohen. The list, sadly, goes on and on.

Prominent passings affect many aspects of the music world, but the impact is particularly clear in the world of cover songs: When an artist dies, a lot of people cover his or her songs. The world was hardly hurting for Prince covers before April 21, but afterwards, to paraphrase the man himself, we went crazy. Bruce Springsteen alone became a one-man tribute machine, covering Bowie, Prince, The Eagles’ Glenn Frey, and Suicide’s Alan Vega after they died (it’s a shame his tour ended before Cohen passed because he’d do a great “Everybody Knows”). Our list this year features a number of these tribute covers – though both the Cohen covers listed were actually released before his death, proving there’s no need to wait to honor one of the greats.

Our list also features fantastic final covers by the recently departed, brilliant song-interpreters like Sharon Jones and Allen Toussaint. The fact that they died may add extra meaning to these new songs, but they’d make the list regardless. Whether they performed wonderful covers or wrote wonderful songs for others to cover, we miss these artists because they were great. They don’t need any “death bump.”

The year wasn’t all dire though. Our list features many covers by and of artists who are alive in every sense of the word. Kendrick Lamar and Drake represent the new world of hip-hop, Kacey Musgraves and Sturgill Simpson in country, Animal Collective and Joyce Manor in indie rock, and in too many other genres to name. Jason Isbell currently holds a streak here, making his third consecutive appearance this year.

We also have plenty of artists whose names I won’t highlight here, because you probably won’t have heard of them…yet. We’re not in the business of predicting fame – the music industry is far too fickle for that – but some of our past best-cover winners have gone on to big things this year, like Chance the Rapper (2014 winner) and The Weeknd (2012 winner). Hell, Sturgill (#3 in 2014) just got an Album of the Year Grammy nomination!

Those early covers may have helped kick off such success. A revelatory cover song can help a musician attract early attention. When I interviewed Mark Mothersbaugh recently, he said no one understood what Devo was doing until they covered “Satisfaction.” A familiar song done Devo-style finally made the connection for people. “Whip It” and other original hits would not be far behind.

Maybe some of this year’s under-the-radar names will go on to Weeknd-level superstardom. But even if they don’t, all these covers, by household names and Garageband geeks alike, deserve recognition. We’ll miss all the great musicians who left us this year, but it’s gratifying to see so many promising younger artists coming in to fill their shoes.

– Ray Padgett, Editor in Chief
(Illustration by Sarah Parkinson)

PS. Last year in this space, I mentioned I’m writing a book about cover songs. Well, Cover Me (the book, that is) is finished and will be out next year! In addition to the aforementioned Mothersbaugh, I interviewed Roger Daltrey about “Summertime Blues,” David Byrne about “Take Me to the River,” and many more. Follow our Facebook for updates on preorder, etc. Now, on to the countdown…

NEXT PAGE →

Dec 092016
 

Follow all our Best of 2016 coverage (along with previous year-end lists) here.

tribute records

We’ve done a Best Cover Albums list every year since 2009. That list usually ends up being a reasonably even mix of various-artist tributes and single-artist records. But in all those lists, our number-one pick has been, without fail, a single-artist album (for those keeping score at home, we’ve awarded The Lemonheads, Peter Gabriel, Baaba Kulka, Neil Young and Crazyhorse, Xiu Xiu, Andrew Bird, and Bob Dylan – who didn’t turn up to accept our prize either).

This single-artist streak is no coincidence. It is naturally easier for one artist, if he/she/they are good enough, to maintain consistent quality control over 10 or 15 tracks. Whereas even the best mixed-artist tribute records usually have one or two dud tracks. Take the National-curated Day of the Dead, certainly this year’s highest-profile tribute album. Some of these Grateful Dead covers were so good they’ll appear on next week’s Best Cover Songs of 2016 list. Many others were dreck, filler, or superfluous. So we ranked the record – spoiler alert – at #20, sort of an honorable-mention position.

Even various-artist tributes comprised of uniformly good covers typically don’t add up to more than the sum of their parts. For example, we ranked MOJO Magazine’s Blonde on Blonde tribute pretty high this year because we liked just about every one of the Bob Dylan covers on offer. But there’s little common ground between an aggressive electronic “Rainy Day Women #12 & 35” and a tender folk “I Want You.” The record is more a bunch of great cover-song fodder for mixes and playlists than a truly great and unified album.

I sound like I’m being critical, but again, these are among the best cover albums of the year. This is usually the most a various-artist tribute album can aspire to: more good covers, few bad ones.

But this year, for the first time in our eight years making these lists, a various-artist tribute album rose so all the way to the top. This album was not only good top to bottom, but it felt like a real album, not just a collection of covers. It ably walked the finest of lines: showcasing diverse approaches to the source material while just remaining cohesive enough to stand together as a complete listen.

I don’t want to give away what that number-one album is just yet. We’ll get there, and there’s already enough of a tendency with year-end lists to skip straight to #1 and ignore the rest. I no doubt have not helped by hyping this magical album that broke our eight-year streak. But every one of the twenty albums we picked offers something worth hearing.

We’ve got jazz-sax forays through prog-rock and twee-pop covers of vintage punk tunes. There’s a ’60s New York icon honoring her then-competitors in the British Invasion, and a band from that same British Invasion honoring their American inspirations. There are tributes to great musicians who died this year, and tributes to long-dead musicians who there’s no news hook for honoring now, just great songs.

This list itself is as “various artists” as it can get, a whole array of genres and styles with one common thread: musicians honoring their inspirations and influences. Let’s dig in.

– Ray Padgett, Editor-in-Chief

Start the countdown on the next page…

NEXT PAGE →

Aug 032016
 
DominoMajesticstill

Many of the best Tom Waits covers polish off Waits’ most oddball tendencies to bring out a more conventional beauty (Springsteen’s “Jersey Girl,” Baez’s “Day After Tomorrow,” Cash’s “Down There By the Train,” etc). Here’s a band that went in the opposite direction.

Swedish trio Domino Majestic climbed a nearby mountain to cover “God’s Away on Business,” dragging a harmonium with them. Now in most bands, the harmonium would be the strangest instrument, but here’s it’s the most conventional. It’s accompanied by a bass made of an old gasoline can (it’s worth watching their video about this bizarro instrument) and a guy pounding on a suitcase with a mallet. Continue reading »

Jul 152016
 

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.


Because I decided to fight for what was rightfully and legally mine, a full album that I recorded was never released. I’m not being paid, nor have I ever been paid, as an artist for “Sea of Love.” I never received justice and to this day have not received justice. – Phil Phillips

The author of “Sea of Love,” John Phillip Batiste (he Anglicized it for the benefit of non-French-speaking DJs), got more pain than joy from his big hit. Written to woo a girl he didn’t wind up with, co-credited to a record store owner who Phillips claims had no hand in writing it, the original “Sea of Love” went to number one in 1959, but only earned its author $6800. His album was permanently shelved after the label got in a dispute with the record store owner, and Phillips was unable to get out from under his five-year contract; by 1964, Beatlemania had hit and Phillips’ time in the spotlight was over.

“Sea of Love,” on the other hand, was just beginning to shine.
Continue reading »

Mar 182016
 
TomWaits_wolynski

Back in 2006, Tom Waits released an outtakes and rarities compilation called Orphans: Brawlers, Bawlers & Bastards. At 56 tracks, it had a lot – but not nearly everything. So fans dutifully compiled a companion collection of everything left on the cutting room floor, cleverly titled Forgotten Orphans. In addition to more outtakes and b-sides, this fan bootleg included something the main set lacked: live performances. Many of those were super-rare covers, none of which have ever been officially released. But they are worth hearing. Tom Waits is widely regarded as an excellent songwriter, but these covers showcase Tom Waits’ power as a song interpreter. He’s never gone the Bob Dylan route of periodic forays into cover albums, but if he ever did, these songs show how great such an album could be. Continue reading »

Mar 082016
 

god dontAugust Wilson’s play Seven Guitars depicts the tragic death of a black blues musician unable to take advantage of his stardom because he can’t get his guitar out of the pawnshop so that he might return to Chicago and record another hit single on a better contract. The play is set in 1948, a year after real-life inspiration Blind Willie Johnson, the gravely voiced musician eulogized in the new tribute album God Don’t Never Change: The Songs of Blind Willie Johnson, succumbed to pneumonia while living in the ashes of a house that had burned down a week earlier. Despite having recorded thirty songs, Johnson died broke, famously using wet newspaper as blankets during his final days.

There are a million ways to evaluate God Don’t Never Change; most of them, I think, will settle on the fact that it will likely go down as one of the best American roots albums of 2016. I think so too. However, the lengthy discussion that follows will not just be about the incredible music of Blind Willie Johnson or even the deserving covers featured on this album. In what is perhaps a risky move in the world of music criticism, I want to frame my discussion of this album around issues of race and culture because we are a site dedicated to covers: the origins of the blues raise questions germane to any discussion of what it means to cover songs belonging to a genre that originally existed to give voice to the experiences and suffering of a specific group of people.
Continue reading »