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Oct 142022
 

Here It IsWith peak anticipation building in lovers of the Bard of Montreal, here finally drops Here It Is: A Tribute to Leonard Cohen, the Larry Klein-helmed and Blue Note-imprinted all-star tribute we have been sneaking peeks at these past few months. We have been a little underwhelmed by James Taylor and then bowled over by Nate Rateliff, so what of the rest?

First, some background. Klein and Cohen were good buddies during the final decade and a half of the singer’s life, having been crossing paths a good deal longer. Klein himself has an interesting pedigree, a jazz bassist of some renown, starting his career off by playing with Joe Hubbard and Wayne Shorter. Becoming more mainstream, as rock drew out for the greater sophistication jazz might offer, he began to play with, most notably, Joni Mitchell, actually marrying her. Whilst that didn’t last, he became one of the go-to bassists. It is him on Don Henley’s “Boys of Summer” Bob Dylan’s Down in the Groove, and Peter Gabriel’s So album, still keeping his hand in with older buddies like Herbie Hancock.

Adding the production arrow to his quiver, Klein went on to take charge of studio work by a throng of artists encompassing many, many genres. Who else can say they produced acts as varied as Holly Cole, Rodney Crowell, and (Jefferson) Starship? Not to mention Joni, even after their marriage dissolved, and the aforementioned Hancock, including his The Joni Letters, where those two worlds aligned.

Having spent a fair amount of time covering Cohen songs for other artists, Klein came up with the idea of assembling an album’s worth of new ones. He brought together a collection of his contacts and acquaintances, largely from the jazz world, or, as he himself put it: “a group of the most prescient and forward-looking musicians.” Thus the band here, which is led by unassuming guitar titan Bill Frisell, includes also saxman Immanuel Wilkins, Kevin Hays on piano, and the rhythm section of bassist Scott Colley and drummer Nate Smith. Longtime Frisell associate and pedal steel player to the stars Greg Leisz also gets to play, as does Larry Goldings. So a crack band, and already catnip to the Blue Note label, even ahead the roll call of vocalists.
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Oct 032022
 
best cover songs september 2022
Confidence Man – Heaven (Bryan Adams cover)

For their recent Like a Version performance, Confidence Man, a duo of Janet Planet and Sugar Bones, covered Bryan Adam’s “Heaven.” Well, sort of. They really took their cues from the hit club cover of “Heaven” by DJ Sammy. “We didn’t actually know [it was a cover],” said Planet. “Stu, our manager – who’s old – told us that. We listened to [the original], and it’s not that good.” Ouch! But their cover is a blast to watch, all charisma, choreography, and energy from the two of them in front of an ominously veiled band. As NME points out, Confidence Man are the third act a a cover of a cover on the show. In 2017, Alex Lahey covered Natalie Imbruglia’s hit cover of Ednaswap’s non-hit “Torn” (we wrote a feature explaining the backstory there). And in 2018, garage-rock septet West Thebarton covered Florence + The Machine‘s cover of The Source and Candi Staton’s “You’ve Got the Love.” Continue reading »

Aug 192022
 

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

Hounds of Love

In June of 2022, Kate Bush’s “Running Up That Hill (A Deal With God)” was used to soundtrack a climactic scene in the premiere episode of season four of the Netflix series Stranger Things. What happened next is already the stuff of pop music legend and a tale that will be remembered and recounted for years to come. As the 37-year-old pop song by the reclusive legend played, millions of kids and teens who had never known of Kate Bush’s existence completely lost their minds. Then came the real mayhem.

The next week saw “RUTH” (let’s just call it) ascend to the top of pop charts all over the world, going to number #1 in eight countries (England! New Zealand! Switzerland! Lithuania! More!). Okay, it only got to #4 in the U.S., but still, that’s Top 5 (upon the song’s original release in 1985 it only got as high as #30)! The song garnered millions of plays across all the streaming services (Apple! Spotify! YouTube!), inspired masses of TikTok videos, and most importantly introduced a whole new generation to the incomparable genius of Catherine “Kate” Bush.

But while the pop-chart-exploding Stranger Things-inspired introduction was a singular event unto itself, the experience of just plain hearing Kate Bush for the first time has never really changed. As existing Kate fans can confirm, the excitable reaction of the new listeners was perfectly normal. When Kate Bush enters your pop listening life for the first time, the natural human tendency has always been to go a little “oh my God” crazy.

But perhaps the most mind-blowing thing about all of this is that “RUTH” is not even the best song on the album it actually hails from. That’s how great Hounds Of Love is.

A foundational fixture on every “Best Albums of All-Time” list from now until forever, Hounds Of Love is Kate Bush’s finest hour. Despite its unending sonic drama, Hounds was recorded in the comically peaceful and idyllic environs of a converted barn at Kate’s childhood home. Yes, this madly ambitious album, consisting of four gorgeously unhinged anthems of love, an eerie demon ballad, and a 26-minute oceanic fever dream, actually came to be in storybook surroundings full of greenery, birdsong, and sweet dogs (that’d be Kate’s front cover co-stars and forever icons, Bonnie and Clyde). Epic and anthemic enough to scream along to in the car, but brimming with enough empathy and intimacy for intensive solo headphone engagement, Hounds Of Love is just plain magic.

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Aug 042022
 
james taylor leonard cohen

There’s a new Leonard Cohen tribute album coming from Blue Note Records in October. Lineup-wise, Here It Is appears to be in the vein of 1995’s all-star Tower of Song, even featuring one of the same artists (Peter Gabriel), than it is the hipper and better-remembered 1991 tribute I’m Your Fan, which there’s a whole 33 1/3 book about (ahem). The project was compiled by Larry Klein, who has produced iconic many artists, though I believe this is his first proper tribute album (he co-produced Herbie Hancock’s Grammy-winning River: The Joni Letters though, which is tribute-adjacent). On paper at least, Sarah McLachlan covering “Hallelujah” doesn’t bode well – but then again, Iggy Pop covering “You Want It Darker” holds promise. Continue reading »

Mar 232022
 

Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.

a cappella cover

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, suggested by staffer Hope Silverman: What’s your favorite cover as performed by a choir?
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Nov 172021
 

Cult Classics Vol. 1: I Don’t Even Think of You That Often arrives 30 years after the original multi-artist Cohen tribute album, I’m Your Fan: The Songs of Leonard Cohen. There have been other tributes since then – Tower of Song: The Songs of Leonard Cohen in 1995, Leonard Cohen: I’m Your Man in 2006, and The Songs of Leonard Cohen Covered in 2012 – but Cult Classics Vol. 1 is notable for being the first to be recorded since Cohen’s death five years ago this month.

Drawing comparisons between this new album and the hugely influential I’m Your Fan is probably unfair: after all, the earlier record saved ‘Hallelujah’ from remaining an undiscovered gem in Leonard’s catalogue, and rescued his career by introducing his music to a new audience of young rock fans. Cult Classics arrives in a very different context (Cohen is now revered to the point of having a 10,000-foot mural in his honour on the side of a Montreal high-rise), and is more of an acknowledgement of the influence Leonard continues to have on the young singer-songwriters of today.
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