Miley Cyrus’ latest image reinvention has taken the tough, spunky ’80s frontwoman (think Pat Benatar) and thrust it into the 21st Century. So it’s very appropriate that she’s covered several turn-of-the-’80s songs for recent TV appearances.
Daniel Romano’s Outfit – Sweetheart Like You (Bob Dylan cover)
This one’s for all the Dylan superfans. In 1984, Bob Dylan played three songs on Letterman with L.A. punk band The Plugz. They were gritty and garagey and raw. It boded well for his new sound. And then he never played with them again. The album he was ostensibly promoting, Infidels, was much smoother, helmed by Mark Knopfler. For those who still wonder what could have been, Daniel Romano covered the entire album as if he’d recorded it with The Plugz.
Adam Green – All Hell Breaks Loose (Misfits cover)
Misfits go mariachi! Adam Green, best known as one half of the Moldy Peaches, plays “All Hell Breaks Loose” like it was “Ring of Fire.” He writes: “In The Misfits and in his glorious solo work, Danzig bridged punk and metal with the blue-eyed soul music of the mid-1960’s like The Righteous Brothers and The Walker Brothers. I’d had an idea for a while to do a Scott Walker / John Franz style production at punk speeds, and the Misfits song ‘All Hell Breaks Loose’ seemed like the perfect vessel for the experiment.”
Many musicians, unable to go on the road, have taken to performing concerts in their home in the past week. Personally, I have spent a huge amount of time watching various these live streams. The performances have been moving and powerful, an unusually intimate way to see some of your favorite musicians.
Many such shows have included covers, songs that feel right to sing right now, like John Lennon’s “Isolation” or Leonard Cohen’s “Hallelujah.” So I decided to round up some of my favorites below.
Unfortunately, many live stream platforms don’t archive the content, so if you miss it live, it’s gone (another reason to watch these streams!). But plenty of great covers have remained online. Check ’em out below, and let us know in the comments what others we shouldn’t miss.
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!
L7 formed in Los Angeles, outside of the riot grrrl hub of the Pacific Northwest, in 1985 with just two members. Donita Sparks and Suzi Gardner both provided guitar and vocals. Jennifer Finch on bass and Anne Anderson on drums joined shortly after. The bass and drum spots changed throughout the band’s career, but Sparks and Gardner have been through it all. L7 may not formally identify as a riot grrrl band, fitting more into the grunge scene, but their timing and musical content make them relevant to the broader movement.
L7’s politics are no secret. Early in their career, the band organized the Rock for Choice benefit concert to raise money for abortion access. This benefit, started in 1991, continued every year until 2001, when the band started their “indefinite hiatus.” The venue featured both fellow riot grrrl bands like Bikini Kill and allies like the Foo Fighters and the Red Hot Chili Peppers. L7’s activism is still strong. Their first new song after the conclusion of their 18-year hiatus, “Dispatch from Mar-a-Lago” was released in 2017. They followed this with “I Came Back to Bitch” in 2018, with lines like “throw some bloody rags of fun” referring to their earlier days when Donita Sparks took out her tampon on stage and threw it into a mud-throwing crowd. (Forget bra burning, tampon throwing is the riot grrrl way.) Their latest album, this year’s Alfa Y Omega, even includes the line “make no mistake – lock us up, lock us up” in the song “Burn Baby.”
Outside of their original work, you can find hints of L7’s feminism in their covers. Hear/see for yourself…
Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
It’s been a mere 41 years since Parallel Lines was released, a fact that finds this writer flat on his back. How can it possibly be that long? But is is and it was, 1978 being a particularly good year for Blondie, themselves already far from spring chickens.
Debbie Harry, astonishingly already 33, just two years younger than Mick Jagger (and two older than Ronnie Wood), was the mother hen of the band, together with her partner, Chris Stein, half a decade younger. The pair of them and drummer Clem Burke, were the heart of the band, and the only omnipresent members, rounded out at that time by keyboardist Jimmy Destri, guitarist Frank Infante, and bassist Nigel Harrison. Of course they all hated each other and all hated their producer, Mike Chapman, drafted in for this record to widen their appeal.
This would be the band’s third album, the first two having been helmed by Richard Gottehrer, who maximized their punky charm and promise, turning them into the counter-intuitive leaders of the pack at and from Max’s Kansas City and CBGB’s. Chapman, an Australian, had produced UK chart toppers like the Sweet, exiled Music City maven Suzi Quatro, and Mud; he was immensely successful, but looked down upon by any serious musician or fan.
In truth, they didn’t actually all hate each other, Stein was allegedly far too stoned to know much of what was going on, but there was no love lost elsewhere, not least as Chapman felt that Infante was the only one up to it, musically. Burke could not keep time, it seemed; Destri couldn’t play; and whatever Harrison could or couldn’t do, Chapman’s criticism was enough to have Harrison throw a synthesiser at him. But Harry could sing, that much Chapman could sense, carefully restricting her involvement to both protect her voice and prevent costly meltdowns, weeping in the restroom.
Despite all of this, Parallel Lines still came in a full 4 months ahead of schedule, and, amazingly, this line-up and Chapman went on to make four more albums before the band’s 1982 disintegration. It wasn’t until 15 years later they reformed, the original trio with (for a while) Destri, augmented by any number of additional sidemen. They still play on.