The title track of the Grateful Dead’s 1977 album Terrapin Station is arguably the group’s most intricate studio creation. Clocking in at 16 minutes, the song blends elements of folk, prog rock, baroque music and jazz, along with extensive percussion tracks and a classical symphonic and chorale finale. The multi-part odyssey features a level of studio precision that the band could never replicate on stage, which may explain why they never played the track in its entirety in concert.
The Band Of Heathens ft. Margo Price – Joy (Lucinda Williams cover)
Promoting her new album That’s How Rumors Get Started, Margo Price has been on a great covers kick. She recently tackled a political country classic at the Grand Ole Opry, Bob Dylan on CBS, and John Lennon from her house. Now she’s teamed up with Band of Heathens to cover a Lucinda Williams classic. To quote Lucinda on Instagram, “Get to Slidell, girl!!”
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.
To all reports, Ewan MacColl was a difficult man. It’s perhaps hard to believe that a man who could write as sensitive a song as “The First Time Ever I Saw Your Face” (for Peggy Seeger, Pete’s half-sister and MacColl’s third wife), the song made into a cross-genre standard by Roberta Flack in 1972, could be so uniformly feared and vilified, yet still admired. I guess it’s the usual case of ignoring the man and embracing the music, and this man, who arguably invented the UK folk boom of the late 1950s and early ’60s, had little interest in embracing any of the young acolytes drawn to his flame – he called Bob Dylan’s work “tenth-rate drivel.”
Born James Miller in Manchester, his life was a series of reinventions, as he became a communist rabble-rouser in his teens, then a George Bernard Shaw-admired playwright and, in his mid-30’s, self-acclaimed champion of a fiercely curated folk idiom, wherein such modern anachronisms as make-up for women (and possibly women in general) were decried and denied, while Dylan, Paul Simon, and others of those young acolytes were freely liberating the repertoire into their own.
The Live Lounge is on a roll this month. Last week we heard the Horrors cover Beyoncé there and today Bombay Bicycle Club hit the studio to cover the buzz act of the moment, Lana Del Rey. They brought a giant marimba for “Video Games,” giving it a much more delicate take than the version we heard Friday.
Artists who contributed to the new John Martyn tribute album had a lot of options when choosing a track to cover; Martyn released twenty albums during his forty-plus year career. Thirty artists covered a song from Martyn’s expansive catalog to create Johnny Boy Would Love This: A Tribute to John Martyn. The British singer-songwriter, best known for his unique style on guitar, had a career that spanned genres from folk to jazz to rock and his music touched artists old and new. We previewed contributions from Beck, David Gray, and others earlier this month; now the complete album is available.
The remarkable scope of Johnny Boy Would Love This is an asset in that the album offers a rich, diverse group of tracks from well-respected artists. However, similarities between many tracks give the feeling that the collection could have been more carefully curated. Both discs are disproportionately populated with gentle, introspective covers; all the tracks respectfully pay tribute to Martyn, but not all offer something unique to the collection. There are, however, a selection of standouts among the thirty songs that make Johnny Boy Would Love This a worthwhile purchase for Martyn fans.