Nov 122019
 

‘The Best Ever’ series counts down our favorite covers of great artists.

REM Covers

Last week, R.E.M. released a 25th anniversary expanded reissue of their 1994 album Monster. Unlike many of their albums, Monster was not an obvious candidate for a splashy box set. Practically every new review has noted that Monster was, as Salon succinctly put it, “a notorious staple of dollar bins everywhere.” But, as tends to happen with such reissues, the celebrated albums get celebrated again and the less-loved albums get a critical reappraisal. Sure enough, everyone loves Monster all of a sudden.

So perhaps an avalanche of Monster covers is forthcoming – because there certainly aren’t many now. Despite that being the ostensible news peg for this list, no songs from that album appear on it. But, in a band with as rich a discography as R.E.M.’s, there was a lot of competition. Sure, the obvious hits get covered as much as you think, but many artists delve deeper. The song at the very top of the list, for instance, originally appeared on 1998’s Up, an album that might have an even worse reputation than Monster.

Luckily we don’t need to wait four more years for the reappraisal of that, or of any of the other songs on our list. These 25 covers reappraise R.E.M. deep cuts you didn’t know and reimagine the hits you’ve heard a million times.

The list starts on Page 2.

Sep 022010
 

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

In 1966 the Rolling Stones already had five chart-topping singles under their belts in Britain (two in America). Over the previous few years, classics like “(I Can’t Get No) Satisfaction,” “The Last Time,” and “Get Off of My Cloud” had hit the world like an atom bomb. Great songs all, but much like the Beatles‘ earliest work, they were all a bit…samey. To be sure, it was the best sort of sameyness, but it wouldn’t have forecasted the group still selling out stadiums 45 years later.

“Paint It Black” gave the first whiff of that longevity. It wasn’t as big a hit as the three aforementioned singles, but it was their first real departure from the blues-band mold. The middle eastern melody, the spooky sitar riff underpinning the verses, the humming break two-thirds of the way through. This was different. This was out there. Continue reading »