Jan 102025
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Excitable Boy

Warren Zevon was quite an excitable boy himself, it seems, if not necessarily in the league of the character described in the song of that name, a highpoint in his third album release. A maverick individual with a bag of demons, he cast a spiky flame across the AOR uplands of the ’70s and ’80s, falling in and out of favor, exasperating and alienating friends, family and fans alike. A couple late career upturns brought him back into focus as the century turned, before lung cancer scythed a swath through his renaissance. It also supplied him the means for some exceptional last gasp, literally, material, releasing The Wind just one month before his 2003 death.

Like many of that era, Zevon’s career began as a songwriter for hire/jingle composer. The Turtles were early recipients of his style. His 1970 debut Wanted Dead or Alive sank with little trace, sending him back to supper clubs and session work. Jackson Browne gave him a huge break, producing and promoting his second disc before taking him out on tour, as his support and gig-buddy. The Browne connection, and the prestigious Asylum label, contrived to bring attention earlier lacking, his quirky songs now available to a much larger audience. This eponymous 1976 album was duly hailed “a masterpiece” by Rolling Stone.

Bolstered by recognition, two years later saw the release of Excitable Boy, again helmed by Browne, together with guitarist Waddy Wachtel. This saw Zevon’s career-best sales, going platinum and attaining a Billboard Top 10 placing. Furthermore, the single from the album, “Werewolves Of London,” #21 on the US chart, prove also an unlikely critical hit in the U.K., at a time when punk rock was more the emergent flavor of the day, alerting this writer to his oeuvre, a love maintained immediately and thereafter.

So let’s see how it and rest of Excitable Boy has lasted, as inspiration and influence for the covers work of others.
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Dec 132024
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Electric Ladyland covers

Jimi Hendrix released Electric Ladyland in 1968, the last of his three lifetime studio releases. Produced by the guitarist himself, it was a double set and featured a veritable panoply of guests, over and above the core trio of Hendrix, Noel Redding and Mitch Mitchell. Notable amongst these were Steve Winwood, Jack Casady (Jefferson Airplane), and the drummer in his later band, Buddy Miles. This sometimes led to criticisms of the album being a chaotic overindulgent sprawl, and there are moments that touch upon that, but it did not stop Electric Ladyland‘s swift elevation to bestseller, almost from day one. It attained the number one album slot in the US within a month of release. In the UK, where he had made his name, it fared less well, if still attaining a credible number six. Time has expanded and widened the appeal, winning over many of the initially sniffy critics, who saw it as overlong and muddled. In the year 2000 Rolling Stone ranked it at #53 in their Best 500 Records of All Time, a full 32 years after release. And we haven’t even mentioned the album artwork, which has a whole backstory of its own. Hint: there was a reason the UK cover was different from the US cover. Well, nineteen reasons. (Would you believe thirty-eight?)

But that’s another story for another time. Here we are interested more in covers than covers. We found sixteen of them, one for each song, even the ones where calling it a song is a stretch. You might not like them all – there’s one here that we think is an absolute clinker – but hopefully they evoke the best of Electric Ladyland when you hear them.
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Jul 122024
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Nebraska covers

A Full Album post of covers of Nebraska? Surely, you say, Cover Me has done this before. Well, I have checked, and whilst we have published posts about officially released full album versions of Born in the U.S.A., Darkness on the Edge of Town, and Tunnel of Love, as well as our Best Ever of Bruce covers piece, and even reviews of Nebraska tribute albums here and there and here again, we actually haven’t. So then, cometh the day, and this man’s job is to find ten Nebraska covers, one of each song, while avoiding as much duplication as is possible. You up for that?
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Mar 222024
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Kraftwerk

Sometimes only a greatest hits will do, a necessity to hit those spots and scratch those itches. For me, Kraftwerk’s The Catalogue is one of those times.

I guess that sort of reveals me as the dilettante I try so hard to pretend I am not. But dilettante or no, I bow to no one in my like of some of Kraftwerk’s MO–which, I guess, gives it all away. It’s true, I confess to not having the traction for the band’s entire oeuvre, but the ones I know, I love. More importantly, I recognize their pivotal position, as popular music discovered the absence of a need for guitars. Tougher call than it sounds, but these guys stuck steadfastly to this template throughout various permutations for over half a century, whilst their minions and acolytes all started slyly adding guitars and, horrors, live drums. (Yes, I’m looking at you, Depeche Mode.)

The Catalogue is one of many Kraftwerk kompilations that exist, and probably the best one for the attention of Kraftwerk civilians like me, primarily as it has the highest headcount of hits. Before all start shouting at the screen, The Catalogue, as in the commercially released version, was indeed an eight-disc remastering of the original existing catalogue. But a promo single-disc compilation was also made available (and, according to Discogs, is able to buy, pre-loved, for a very reasonable outgoing). That’s the one I’m basing this Full Album post on. Is this a slightly deceitful ploy? Maybe, but this is my post and, given I actually have a copy, I can. Besides, let’s be honest–who can even remember the original of “Der Stimme De Energie”? (Go on, then, hum it!)
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Jan 192024
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Forever Changes covers

Love was definitively a band of and for the ’60s. Formed in 1965, their incandescent flame shone bright only until the turn of the decade, their legacy thereafter diminishing, not least as founder Arthur Lee became last man standing. Indeed, such was Lee’s imprint that he was able to trade on the name and past glories for the rest of his career and the rest of his life, even if it was mainly the first three albums – Love, Da Capo and Forever Changes – audiences wished and needed to hear.

The extravagant meshwork of styles and influences Love’s original lineup brought collectively into the mix, defied any one attempt to restrict the resultant style to any one genre. There were elements of almost raw garage rock, cheek by jowl with pastoral and orchestral interludes, with folk influences and whiffs of psychedelia elsewhere.

Lee kept the b(r)and going, on and off, more or less until his death, in 2006. Bryan MacLean, who had parted from the band acrimoniously, died in 1998, a few months after Ken Forssi did the same. Snoopy Pfisterer has long since retreated to idyllic rural isolation, with little lasting involvement in the music industry, but Johnny Echols has continued to hold a candle for the band, re-igniting the name and touring a version of the band since 2009, the show usually reliant on playing the material from those first three albums.

As for Forever Changes, it’s become a staple in the best-of lists pumped out by your Rolling Stones, your Pastes and others of that ilk. Along with a select few, such as Pet Sounds, Blonde On Blonde, Astral Weeks and Revolver, Forever Changes has become of and beyond its time, a beautiful bad trip seeing off many of the newcomers begging for comparison and subsequent attention.
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Jul 072023
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
Nick Drake Bryter Later
There is a definite feel that the songwriting talents of Nick Drake, so overlooked and undervalued in his all-too-brief lifetime, are again coming back around into view. Suddenly a host of newer and younger artists are covering his work, like Josienne Clark and Valerie June. Plus, there is today’s release of a new tribute album, The Endless Coloured Ways, featuring artists as varied as Fontaines D.C. and Let’s Eat Grandma. So, having featured full-album posts with his first, Five Leaves Left, and last, Pink Moon, surely the time has come for us to complete his triad of albums in this series.

Bryter Layter has always seemed the most substantial of Drake’s holy trinity, perhaps down to the lush orchestrations of Robert Kirby and the stellar rhythm section of the Fairport duo, Daves Pegg and Mattacks. The latter pair were also the de facto core of the Island records house band of that time, the Oxfordshire Sly and Robbie, appearing on records by artists as diverse as John Martyn and Murray Head. True, Kirby also adorned Five Leaves Later, but with Danny Thompson’s (no less splendid) acoustic bass that time around, it was all a little more pastoral, with the difference rendering this disc with that little bit more drive and grit. Which, admittedly, are words people don’t tend to use too frequently around the maudlin and whimsical canon of Nick Drake.

Bryter Layter first came out in 1971, produced, as always, by Joe Boyd, a man who has continued to keep the flame of Drake alive, even ahead of latter recognition and accolade. But, like Five Leaves Left before, it sank like a stone, even if critics were beginning to find decent things to say. How sad that it took Nick Drake’s death, and the repercussions of that on his peers and acolytes, to get his name up in lights so many decades on. There have been other tribute albums in his memory: 1992’s Brittle Days, for instance, and 2013’s Way To Blue, the latter curated by Boyd, and I dare say there will be more. But today, in honor of the newest one, let’s make up one of our own.
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