Apr 122021
 

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!

Terry Reid covers

There are very few articles about Terry Reid that fail to mention his falling at the first hurdle of being asked to join Led Zeppelin, and, I am afraid, this isn’t one of them. It seems the one fact anyone knows about this still-performing singer, and one that, understandably, always irks him. Not so much that he regrets it, more he just regrets it being the only part of his life and career anyone asks him about. Or seems interested about. Which is a shame, as there has always been a good deal more to Terry Reid than that.
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Feb 122021
 

Off the Beaten Path looks at covers of songs from a less popular era in an artist’s career.

James Taylor

When you hear that an artist has done a James Taylor-penned cover, you can pretty safely assume that it is one of the following songs: “Fire And Rain,”, “Sweet Baby James,” or “Don’t Let Me Be Lonely Tonight.” Those that choose to venture deeper tend to favor a little “Shower The People” or “Carolina In My Mind.” Mind you, there’s nothing wrong with those choices: I mean, they are all undeniable evergreen classics. And there have been some ridiculously good takes on a few of these songs, especially “Fire…” of which several are themselves total fire (check some of them out here).

But, if I can offer a little get-off-my-lawn style observation, this rigid devotion to a specific handful of songs can get a little repetitive. It also does something of a disservice to the Taylor catalog, which is hundreds of crazy wonderful songs deep. All of which is to say that it’s especially nice to hear an artist take a swing at a JT deep cut. An album track. A B-side. A non-single (or non-performing one). Thankfully, there are a few artists who’ve eagerly taken the plunge, proving there is a wealth of goodness to be had beyond the hits.

It’s time to open the JT deep-cut cover floodgates. Let’s let this crew of artists provide some glorious inspiration.
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Feb 092021
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

Goose covers

Goose, whose name was inspired by an inside taco-related joke between bandmates Peter Anspach, Ben Atkind, Trevor Bass, and Rick Mitarotonda, formed in Connecticut in 2006. Many point to their performance at the Peach Festival in Scranton, PA in 2019 as the moment that elevated them from local heroes to more widespread fame.

Following in the footsteps of great jam bands before them (yes, they get compared to Phish a lot), Goose is known for keeping the vibe going with extended instrumentals. They’ve been keeping busy during the pandemic, even profiting from a “Bingo Tour” where they live stream a setlist determined in real time by random draws of bingo balls and raising money for charity.

Throughout their different gigs they’ve performed quite a few covers. Let’s check out a sampling of them.

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Jan 062021
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

Shaye Zadravec

It’s a tradition as old as Cover Me. We put together our posts for the year’s best covers, and not 48 hours after our post is finalized, a cover crosses our radar that absolutely would have made the list had we only heard it just a few days earlier. It’s frustrating, but at least we’re in a position where we can still spread the word.

For me, 2020’s woulda-coulda-shoulda song was “Skyway” by Shaye Zadravec, from her cover album Now and Then. She’s a new name to me, but in Calgary she’s been performing for almost a decade, getting the attention and mentorship of Ian Tyson (“Four Strong Winds”) and Chip Taylor (“Wild Thing,” “Angel of the Morning”) in the process. Catch her here while her star is still ascending.

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Sep 142020
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

Dozens (hundreds?) of young artists fell for the 2015 song of the year, Sam Smith’s “Stay with Me,” and posted their own version of the hit on social media. But only one of them found herself taking a call from Prince, who saw enough talent and originality in her post to want to hear more. That was just one early “lift-off” moment in the career of singer, song-writer, pianist, and Blue Note recording artist Kandace Springs.

The calls to collaborate kept coming, from artists in diverse genres, locations, and generations: Ghostface Killah, Daryl Hall, Black Violin, and David Sanborn in the U.S., Aqualung and Metropole Orkest in Europe. (We highlighted her Metropole Orkest hook-up in our Charles Mingus celebration back in April.) Springs’ vocal stylings are varied enough, and her roots are deep enough, to deal with all of it: her work reveals clear hip-hop, soul, and R&B influences, but classical music and straight-ahead jazz are her true loves. Her life-long hometown of Nashville may be synonymous with country music, but that’s one form Springs hasn’t taken on. Yet.
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Sep 092020
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

Mathilde Santing

As a teen back  in the ’80s, I was completely, 100% besotted with the music magazines coming out of the UK. I loved the glossies like Smash Hits, No.1, and Record Mirror, as well as the weeklies, specifically NME and Melody Maker. I would read them cover to cover, simultaneously ogling the heartthrobs and making lists of what I wanted to buy based on the reviews (or, okay, someone’s haircut). It was through these endless piles of paper that I first got wind of The Associates, The Smiths, and Kate Bush, all of whom I ended up maniacally worshipping (and writing still-unanswered fan letters to). And of course, as there was no such thing as streaming at that point, the reviews in these mags were often the determining factor as to whether or not I would buy a record. My teen funds were meager, so there was often a lot riding on how convincing the review was. It was in one of these magazine reviews that I first stumbled upon Dutch singer Mathilde Santing.

Santing began her solo career in 1982 with the release of a self-titled album featuring an eclectic mix of standards, Rodgers and Hammerstein amongst them, and pop tracks by the likes of the Beach Boys and mad genius Todd Rundgren (hold that last thought, it will be important later!). As quietly adventurous as the track listing was, there was no question as to what the album’s real strength was — Mathilde Santing’s extraordinarily warm, elastic, gorgeous voice.

Santing’s next album, 1984’s Water Under the Bridge, marked something of a turning point in her career, though it wasn’t clear-cut at the time. Gone were the covers, replaced instead by original material of the jazzy, intermittently quirky, ’80s indie pop variety. While focusing on originals was the standard move for a young pop singer, the album turned out to be something of a swan song for Santing; it ended up being her last consisting solely of original material. With a handful of exceptions, from this point forward, it was all about the covers.

It was over a review of her next album that Santing first caught my eye and subsequently hooked me for the foreseeable future. While 1987’s Out of this Dream sported a small cluster of really fine originals, more than half the songs on the album were covers. Upon seeing the track list, I instantly recognized her as a kindred spirit, a total music nerd soul sister. There were songs by Squeeze and Tom Waits. There was a Dionne Warwick deep cut. The album opened with, yes, a Todd Rundgren track. It was a very “wait a second, I love these artists and songs too ” moment, and from that point on (though she didn’t know it), we were officially pop music nerd-bonded. I bought the record and was instantly impressed with her exquisite vocal performances, how she sang these majestic and melodic tunes with such reverence and passion. And maybe most thrillingly, it was unerringly cool to hear a girl so convincingly singing these songs written by boys.

To date, Santing has released 21 albums and counting (a mix of studio, live sets and compilations), and between those and her innumerable live performances, she’s covered upwards of 150 songs. She’s offered up stellar versions of tracks by everyone from ’80s pop auteurs and thinking girl faves like Scritti Politti and Aztec Camera to melodic maestros like Nilsson and Randy Newman, as well as those of evergreen legends like Joni Mitchell. It should be noted that she is especially fond of Todd Rundgren and is in league of her own as far as covering his catalog which is to say, in terms of quality Todd covers, no one on the planet does it better.

To this day I remain both awestruck and impressed by her song choices as well as just plain psyched that there’s another girl on the planet who is as infatuated with these specific artists, these one-man-band, post-pop weirdos and cult heroes with their very particular melodic sensibilities.

And now please enjoy this handful of highlights spotlighting some of the finest and coolest covers by master interpreter and unabashed pop fan Mathilde Santing.
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