Aug 282026
 
Best Cover Songs of August 2026
Joy Oladokun — The Thrill Is Gone (B.B. King cover)

Tied to America’s 250th birthday, Salt Lick Sessions’ “Songs of U.S.” series features musicians covering “songs that have shaped the country’s cultural identity while exploring what belongs in the American songbook today.” Nashville singer-songwriter Joy Oladokun selected Roy Hawkins and Rick Darnell’s “The Thrill Is Gone,” best known for the B.B. King version. She says the song “feels really powerful without being so poetic that people could be left behind.” Unlike many of the King-inspired blues-rock covers that feature copious guitar solos, she strips it back to a beautiful folky ballad. She also covered “Ain’t No Sunshine.” Continue reading »

Jun 022026
 
Ben Harper and Jackson Browne

“If could do this every night of the week with Jackson, I swear I would,” wrote Ben Harper, talking about playing alongside Jackson Browne. The two teamed up again (they’ve played together before) at Truetone Music store in Santa Monica, California to play a cover of Warren Zevon‘s “Mutineer.” With the two trading off lead vocals, Browne played an acoustic guitar while Harper played slide. In any form, it is a beautiful song and this version does not disappoint. Continue reading »

Mar 032026
 
Sombr
Asher White — Casper (Jessica Pratt cover)


Why does Asher White have a record titled Jessica Pratt? Because, as it turns out, it is a full-length cover of singer-songwriter Jessica Pratt’s 2012 debut record—which happens to be self-titled. Pratt herself approves: “White’s curiously inventive renditions took me by surprise,” she said in a press release. “A broad sweep stylistically and production-wise. Not just homage, but a record in its own right.”

The Belair Lip Bombs — Happiness (The 1975 cover)

“It was the first single that came out of their latest record and I just listened to it for like two years straight,” singer Maisie Everett said of the 1975 song the band covered on Like a Version. “I still do.” Continue reading »

Jan 302026
 
The Best Cover Songs of January 2026
The Beaches — I Ran (So Far Away) (A Flock Of Seagulls cover)

The Beaches released one of the best albums of last year with No Hard Feelings. Now they’ve followed up with a Flock of Seagulls cover. Why? Why not! They don’t veer too far away from the original arrangement, but add an extra dose of indie-rock crunch. Halfway through it gets a little more shoegazy and expansive, with a huge build.

The Damned — Making Time (The Creation cover)

This deeper cut is a high point of the Damned’s new covers record, which, per our review, “takes the song into near heavy metal territory, if leavened by the catchy choral chorus, which, especially with the bass and drums, comes over like the Who in their prime.” Continue reading »

Jan 262026
 

Were he still alive, Warren Zevon would be on a roll, scarcely able to believe the belated acclaim coming his way. Of course, plaudits came his way in life, but Zevon was the epitome of a cult artist, beloved more by critics and other musicians than necessarily a buying public. It’s fair to say his songs tended more to niche listeners, with a taste for the left field. That sure describes a lot of us here at Cover Me, and we have endeavored to keep his flame alight, in our own small way.

“Mr. Zevon had a pulp-fiction imagination,” said the New York Times, and they weren’t wrong. If his most celebrated song was about werewolves, that was not unique, as other songs were to celebrate, if that is the right word, child serial killers and headless mercenaries. With a penchant for the dark side, Zevon was unafraid to tackle the most unusual of inspirations, while at the same time being able to pen some of the tenderest and gentlest of love songs. Truly a paradox.

Now here is Keep Me In Your Heart, a double album containing a wide selection of his songs, covered by a large cast of peers and acolytes. Curated by Long Island record label Paradiddle Records, this set is populated more by jobbing musicians on that local circuit, rather than the bigger names that gathered for a tribute concert in L.A. last fall, or indeed, the ones on his earlier tribute album, 2004’s Enjoy Every Sandwich. As such there is allowed a greater scrutiny of the song and the performance, over any recognition of already established voices and styles. Having said, there are a few higher profiles present also, a memento of how well appreciated was Zevon as a writer, by his colleagues and contemporaries.
Continue reading »