Nov 102025
 
Hey Joe

A few months ago, music journalist Jason Schneider released the book That Gun in Your Hand: The Strange Saga of ‘Hey Joe’ and Popular Music’s History of Violence. It’s a fascinating read—but don’t take our word for it. None other than Lenny Kaye, who in addition to playing on an iconic version of “Hey Joe” (it was the Patti Smith Group’s first single!), is a music journalist himself. He wrote in the book’s foreword, “In these pages, Jason Schneider has traced Joe’s lineage through its many mise-en-scenes, not only the bare bones of the song but the inner complexities and contradictions that each artist brings to it, subject and subjective.”

As part of the book, Schneider listened to, naturally, a lot of different versions of “Hey Joe.” Since I assume we all know the Hendrix version (and if not, here’s a deep dive on it), we asked Schneider to tell us about some lesser-known covers he loves. Continue reading »

Cover Genres: Banjo

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Apr 212023
 

Cover Genres takes a look at cover songs in a very specific musical style.

banjo

Yes, it’s true–banjo isn’t really a genre, per se, as it encompasses more than one musical style. Way more. But this category could use a kickstart, and what better instrument to provide the kick with?

Now, I love the banjo, but I know full well how many don’t. Indeed, only the bagpipes and the accordion have been the butt of more jokes. My goal, then, is to take you the reader beyond the backwoods and blue grass, and to show you the other vistas where a banjo can not only play, it can also rule.

So then, banjo, do yer worst!
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Jan 092015
 

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

“Hey Joe” ranks right up there with “Stagolee” in the list of deathless murder ballads, and we have Billy Roberts to thank for its existence.

Billy Roberts? Who he, you ask, as did I, long believing the tale that Tim Rose spun about it being trad.arr. It certainly should be, call and refrain being common features within the traditional canon, but there isn’t enough evidence to nail that theory, so Billy Roberts, a ’60s coffeehouse folkie, has the official rights thereto. (Never mind the theory that he “gave” the song to Dino Valente, author of the Youngbloods’ “Get Together,” in order to give Valente some royalty income while he was in prison.)
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