In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
Merle Haggard died on April 6th, his 79th birthday. On another April 6th, eleven years earlier, he celebrated his birthday in Chicago, opening the spring run of Bob Dylan’s “Never Ending Tour.”
I don’t know what he did for most of that 66th birthday, but I do know how five minutes or so was spent. He was standing outside his tour bus, listening to a handful of Dylan obsessives sing “Happy Birthday” to him. I was one of them.Continue reading »
Follow all our Best of 2015 coverage (along with previous year-end lists) here.
I didn’t realize it until I began laying out our post, but this year’s Best Cover Songs list shares quite a few artists with last year’s. And some that showed up here the year before that. Jack White’s on his fourth appearance. And Jason Isbell and Hot Chip not only both reappear from last year, but have moved up in the rankings.
Though we’re always on the lookout for the new (and to be sure, there are plenty of first-timers here too), the number of repeat honorees illustrates how covering a song is a skill just like any other. The relative few artists who have mastered it can probably deliver worthy covers again and again.
How a great cover happens is something I’ve been thinking a lot about this year as I’ve been writing a series of articles diving deep into the creation of iconic cover songs through history (I posted two of them online, and the rest are being turned into a book). In every case the artist had just the right amount of reverence for the original song: honoring its intention without simply aping it. It’s a fine line, and one even otherwise able musicians can’t always walk. Plenty of iconic people don’t make good cover artists (I’d nominate U2 as an example: some revelatory covers of the band, but not a lot by them). Given the skill involved, perhaps it’s no surprise that someone who can do a good cover once can do it again.
So, to longtime readers, you will see some familiar names below. But you’ll also see a lot of new names, and they’re names you should remember. If the past is any guide, you may well see them again next year, and the year after that.
Click on over to page two to begin our countdown, and thanks for reading.
As long as there has been Western art, there has been a debate regarding the nature of the simulacrum, a Latin word that originally meant representation but has come, in philosophical circles, to mean any kind of imitation or copy. Plato distinguished between a noble type of simulacra – an exact copy – and an inherently dishonest image that has been distorted or altered (usually by a painter, sculptor, or actor) in order to seem true and elicit a particular emotional response for the viewer. Leaving aside Plato’s alarmist anxiety regarding the power of artist to willingly manipulate a populace via dangerous and immoral entertainments, his two “types” of simulacra represent two poles of a continuum that might be used to describe covers. Covers inherently create simulacra that, depending on the intent of the cover artist, fall somewhere between the perfect replica and the “distorted” copy designed to reposition a song in a new historical or generic context so that it might feel true to a new audience.
The thirteen covers on The Brighter Side: A 25th Anniversary Tribute to Uncle Tupelo‘s‘No Depression’all lean toward the latter variety, taking significant liberties to reimagine the album as one that neatly and cleanly fits into the genre of alt-country, a genre that more or less didn’t exist twenty-five years ago. The question of representation becomes even more complicated, though, when one considers the fact that the alt-country lens through which these songs are here replicated is one that is largely believed to have been created or codified by the release of No Depression itself. In other words, No Depression is here being translated into a genre that, in theory at least, it helped invent. Continue reading »
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!
There is very little that can be considered “new” in the world of popular music — everything builds on something that came before, and influences get combined in different ways. So the idea that you can declare the inventor of a musical genre is ridiculous. Uncle Tupelo didn’t invent alt-country, a mix of country, rock and punk (check out, say, Jason and the Scorchers, the Long Ryders, Rank and File, X, or the Blasters, for example, for proof that these strains were already well mixed when Uncle Tupelo emerged). But it cannot be denied that Uncle Tupelo’s debut album No Depression, which gave its name to the influential message board and magazine that spearheaded the movement, helped to kickstart the genre’s popularity and became one of its cornerstones.
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by. Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
This is a hybrid piece, melding together two Cover Me staples, “In Memoriam” and “Full Albums,” prompted by today’s anniversary of the plane crash that killed Lynyrd Skynyrd members Ronnie Van Zant, Steve Gaines, and his sister Cassie Gaines. We’re remembering them by giving the Full Album treatment to the band’s debut album, (Pronounced ‘Lĕh-‘nérd ‘Skin-‘nérd). While neither of the Gaines siblings appeared on it, they certainly played its classic songs in concert, and probably even some of the lesser-known ones. So this piece may lack a certain consistency, but if a band can tour as Lynyrd Skynyrd with only one original member, then we can still do this. Continue reading »
They Say It’s Your Birthday celebrates an artist’s special day with other people singing his or her songs. Let others do the work for a while. Happy birthday!
Forty-six years old. In some ways, it’s hard to believe that Jeff Tweedy, the songwriting genius behind Wilco, has hit his late forties. On the other hand, think back, way back through his recorded output. When Wilco released their first album 18 years ago, Tweedy was already a groundbreaker, having co-founded Uncle Tupelo with Jay Farrar eight years earlier. Together, they practically invented the genre of alt-country before their acrimonious split, when Tweedy was just 26 years old.
Not one to rest on his laurels, Tweedy assembled Wilco out of the ashes of Tupelo’s touring band and slowly built a following. The band teetered on the edge of disaster when they presented their masterpiece Yankee Hotel Foxtrot to their label, only to have it rejected. Instead of going back into the studio to record a boy-band album or whatever the hell the label wanted, they bought the master tapes back and walked. Eventually they signed to a subsidiary of the same company (go figure), and the album came out and went gold. From there on, Tweedy & Company have continued to push the sonic envelope and remain just as vital as ever. Continue reading »