Patrick Robbins

Patrick Robbins lives in Maine, where he moves through life with the secure knowledge that, as Penn Jillette said, "In all of art, it's the singer, not the song," On Wednesdays he goes shopping, and has buttered scones for tea. He is the author of the novel The Warmer.

Oct 162024
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Crazy Train covers

It’s hard to remember where 1980 Ozzy Osbourne was (even if you’re not Ozzy Osbourne). When he released his first solo album, Blizzard of Ozz, expectations could not have been much lower. His last few albums with Black Sabbath saw him flabby and uninspired, vocally and otherwise. He was drinking and drugging at a literally unbelievable rate (the discovery that he’s a genetic mutant was still years away), and Black Sabbath had just cause to fire him. But he still knew how to put together a band. And when he found a five-foot-seven, 105-pound genius of a guitarist in Randy Rhoads, he assured that his own star would shine for a few decades more.

“Crazy Train” features not one but two hall of fame riffs from Rhoads, and Osbourne singing lyrics that could have made him sound like a hippie in another context (“Maybe it’s not too late / To learn how to love and forget how to hate”). But ohhhhh, that context! Bob Daisley, who played bass and claims lyrical credit, said, “As a child, I remember the feeling of fear. I knew Ozzy would like that [concept] because he felt like that, too, having been through it himself. He was kind of frightened about the threat of World War III and how we, as young people, had inherited these troubles, influenced by the threat of nuclear holocaust throughout our lives.” Years later, Ozzy would elaborate: “To me the ultimate sin is nuclear weapons. This is the ultimate sin. I don’t know about Ozzy Osbourne being crazy. Don’t you think these lunatics are crazier, building these bombs to blow us all [up]?”
Continue reading »

Oct 042024
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Help Me Make It Through the Night covers

Kris Kristofferson’s resume may be one of the most remarkable documents of 20th century music. With his passing earlier this week at the age of 88, it was de rigueur for all In Memoriam pieces to bring it up. The man was a Rhodes scholar at Oxford, a Golden Gloves boxer, and a prizewinning short story writer. He was a US Army veteran, a helicopter pilot, and an award-winning actor. He could quote William Blake from memory, and he could rip Toby Keith a blistered new one. And, of course, he gifted the world with truly classic songs, plain poetry that dazzled in its simplicity and its emotional heft. He truly was, as he wrote in “The Pilgrim Chapter 33,” a walking contradiction, partly truth and partly fiction.

“I’m for anything that gets you through the night,” said Frank Sinatra in a 1963 interview with Playboy, “be it prayer, tranquilizers or a bottle of Jack Daniels.” Kristofferson, struggling to finish writing a song in the Gulf of Mexico, came back to that line and used it as the linchpin for “Help Me Make It Through the Night.” The song was about a one-night stand and therefore wore controversy on its back like a target. But the words were so plainspoken and intimate, the need far more naked than the girl, that people fell over themselves running to cover the story of a man all alone with his heart, no matter who else was in the room.

Continue reading »

Sep 272024
 

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!

Seal

Seal Henry Olusegun Olumide Adeola Samuel’s list of awards and accolades go on nearly as long as his full name. He’s won Grammy Awards for Song of the Year, Record of the Year, and Best Male Pop Vocal Performance – all for “Kiss From a Rose,” his 1994 smash – and been nominated twelve more times. He’s sold twenty million records. And he’s earned all his success, thanks to a voice of soul, range, and power, both silky and sensual, lustrous and rich.

Hits, Seal’s 2009 best-of compilation, contains six covers: “Fly Like an Eagle,” “A Change Is Gonna Come,” “I Can’t Stand the Rain,” “It’s a Man’s Man’s Man’s World,” “I Am Your Man,” and “Thank You Falettinme Be Mice Elf Again.” Naturally, we wanted to dig a little deeper. It was beyond certain that we wouldn’t have to dig too far down before we found gold. Here are just five of the worthy nuggets we unearthed.
Continue reading »

Sep 132024
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Merle TravisTennessee Ernie Ford

Merle Travis may have brought “Sixteen Tons” into the world, but it was Tennessee Ernie Ford who made it immortal. The song’s arrangement – clarinets didn’t often get the spotlight, but one sure did here – was spare and distinctive. Ford’s bass baritone and his finger-snapping, both casual and menacing, hooked listeners in both the pop and country worlds, taking the song to number one on both charts. In a 1960 TV appearance together, Travis told Ford, “The song never amounted to much until you sung it.” Ford replied, “I never amounted to much until I sung it, either.”

Continue reading »

Sep 062024
 

Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.

Robyn Sings

[W]hen I sing other people’s songs… I’ve known them so long that they feel like they’re my songs, you know? Obviously, I don’t get the publishing for them, but I feel like they’re part of me, because they also formed the way I write songs. Those songs are like my parents or my elder brother, you know? [Laughs.] I may not possess them, but they’re certainly family. I don’t know if family is something you possess or something that possesses you. – Robyn Hitchcock

If Robyn Hitchcock sees Bob Dylan’s songs as family, then 2002’s Robyn Sings was him organizing a great family reunion. It was a two-CD collection of live Dylan covers; the second CD recreated the famed “Royal Albert Hall” concert. It’s got a bootleg sound and one clown who thinks it’s funny to yell “Judas!” after every song, but it gets the job done. The real treasure, though, is on the first disc, which is what we’ll focus on here today.

Continue reading »

Aug 022024
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Don't Stop

“It doesn’t sound that great when I’m singing it myself. Why don’t we make it a duet?”

According to Ken Caillat, producer of Fleetwood Mac’s Rumours, when Christine McVie said that to Lindsey Buckingham, it proved to be the key to making “Don’t Stop” the song it is today. With the two of them exchanging vocals, compressed so much they almost sounded alike, and McVie playing a jaunty tack piano, they make the song so uplifting you’d never know it was about the end of Christine’s relationship with bassist John McVie. The Guardian called it one of the band’s five best songs, saying that “its cantering rhythm and chorus are so impossibly, infectiously buoyant, the song so flawless, that it cancels out the unhappiness that provoked it.”
Continue reading »