Recorded in a remote cabin studio set in the San Isabel National Forest in Buena Vista, Colorado, San Isabel, the third full-length record from Austin-based duo Jamestown Revival has them taking full advantage of the buzz that is being created with the upcoming music documentary Echo in the Canyon set to be released in September. The documentary, much like the band itself, evokes the essence of the Laurel Canyon artist enclave just North of L.A.’s Sunset Strip along with the spirit of Crosby Stills and Nash, The Eagles, Joni Mitchell, Jackson Browne, Linda Ronstadt, and many others.
Before Woodstock made them legends. Before the drugs took control. Before the rivalries, the breakups and the reunions. Before the memoirs, the biographies, the documentaries, and yet another breakup. Heck, before Neil Young joined the party. Before all that, there was simply Crosby, Stills & Nash.
Fifty years ago, in May 1969, the supergroup comprised of David Crosby, Stephen Stills, and Graham Nash released their self-titled debut album. It catapulted the three singers, all of whom had enjoyed success in other bands, into superstardom. As band biographer Peter Doggett put it, “They cut a debut album that caught the mood of the times.” In retrospect, the record could have been called Greatest Hits: Volume 1. The album contains numerous classics, including “Suite: Judy Blue Eyes,” “Helplessly Hoping,” “Marrakesh Express,” “Wooden Ships” and “Long Time Gone.”
Surprisingly, given this record and CSN’s place in rock history, the songs haven’t been covered that much. Secondhandsongs.com lists only 77 known covers of all the tracks on the album. By comparison, there are 208 covers of the tracks from Déjà Vu (that includes 86 versions of “Woodstock,” which was written by Joni Mitchell). Stills’ solo track “Love the One You’re With” has inspired 69 covers. These numbers do not provide a complete picture, as the site usually does not include music on YouTube or SoundCloud. But they give you an idea of just how few artists have decided to tackle these songs.
Still, we found some great covers by such luminaries as Stan Getz, Miles Davis, Richie Havens, and Trey Anastasio. There are also countless home recordings by guys and gals with acoustic guitars and one of best harmonizing bar bands you’ve never heard of. Let’s “set a course and go”…
Vampire Weekend is currently on tour in support of their new album Father of the Bride. During a recent concert in Indianapolis, the band took a surprise turn in the middle of their song “M79,” playing the theme from Parks and Recreation. The vibe of the theme song is completely in harmony with that of Vampire Weekend so the transition was seamless, and the crowd loved the reference to the fictional town of Pawnee, Indiana.
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: What cover song would you like to have played at your funeral?
For Record Store Day this year, Erykah Badu and The Roots keyboard player James Poyser quietly dropped a new 7″ cover of Squeeze’s oft-covered “Tempted.” For those who weren’t lucky enough to snag it that day, they’ve just posted it online.
Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
Having watched the glorious images of New Orleans saying goodbye to their very own Dr. John, Mac Rebennack, it was daunting for me to try to do justice to his legacy with a piece on “I Walk on Gilded Splinters,” arguably the best known of his songs. Scarcely the most representative, it was the highlight, I guess, of his 1968 debut Gris Gris, owing more to the voodoo priest persona that gave him his break than to his latter-day body of work. It’s the song that casual fans, upon hearing the news of his death, might have known best through cover versions (by Humble Pie or by Paul Weller, depending on their age) as they asked who he was. (“The guy from Treme“ might actually be a commoner answer………)
But is it any good? Well, yes, of course it’s good, nothing quite like it having made the charts previously, and it was a hit – just not for its writer.