The big story in 2022 covers came from a song that’s almost 40 years old: “Running Up That Hill (A Deal with God).” After Kate Bush’s classic had its Stranger Things moment, every week we got a half dozen new covers. It’s been six months since the show came out, and they’re still coming! This entire list could have been “Running Up That Hill” covers if we’d let it.
We didn’t, and it isn’t. The song makes one appearance, as do a number of other trendy 2022 items: Wet Leg, GAYLE, and Beabadoobee; the latest Cat Power covers project; posthumous releases (Dr. John, Levon Helm); songs that tie into coming out of pandemic isolation.
But, as always, a joy of our list is all the covers that tie into nothing, and that you won’t find anywhere else. Doom-metal Townes Van Zandt? Bluegrass Eminem? Ska Eddie Murphy? Folk Björk? Psych-rock Groucho Marx? Those are just five of the fifty killer covers on this year’s countdown. So run up that road, run up that hill, run up that building, and read on at the link below.
Experimental Elvis. Surf-rock Kraftwerk. Garage-rock Roger Miller. Stoner White Stripes. Twee Beach Boys. Heavy-metal Townes Van Zandt. Retro-soul Merle Haggard.
There was no shortage of ambition, or wild genre-crossing ideas, among this year’s cover albums. Here are the best of the best.
25. Otu Fuzzy Tunes
Finnish doom metal outfit Otu stay on theme (“fuzzy”) throughout this covers album without ever getting boring. Each of the tracks is of a metal or hard rock song, but the style of cover varies each time. Album opener “No One Knows,” a Queens of the Stone Age cover, doesn’t stray terribly far from the original, just a bit heavier and fuzzed out. This is followed by a version of the White Stripes’ “Fell in Love with a Girl” that sounds almost like an early Nirvana track; the guitar is tuned low enough to sound like a bass, or else it’s a bass guitar playing the main riff. Track 3, a cover of “Iron Man,” is the first on the album to really sound like a true “doom” cover. It reveals that, while the other styles help keep the album from being too one-note, Otu’s strength is the slow, down-tuned, guttural sound of classic doom metal. “Holy Mountain” and “War Pigs” are strong tracks similarly drenched in towering, droning guitars. It’s a fun way to hear some classic tunes and you’ll get the most bang for your buck on this album with some good headphones or loud speakers. – Mike Misch
24. Various Artists Todo Muere SBXV
Todo Muere SBXV celebrates 15 years of the industrial, gothic, experimental record label Sacred Bones (that info will help to decipher the “SBXV”). Things get loud, as when a trio of metal acts Thou, Mizmor, and Emma Ruth Rundle road through Zola Jesus’s “Night.” They also get dreamy, as when ambient artist Hilary Woods warbles “In Heaven” from Eraserhead (that’s right, David Lynch is a Sacred Bones artist).
Even if you don’t know many of the original songs – and, unless you’re deep in this scene, you probably won’t – the cumulative effect is mesmerizing, moving, and at times a little harrowing. In a good way. – Ray Padgett
23. Jason McNiff Tonight We Ride
Jason McNiff may not be the best known of names, but this hard-working singer and guitarist has hewn himself quite a place in the annals of that awkwardly-titled genre, UK Americana. McNiff earned a degree in French and Russian, but the lure of his first love proved too strong. He immersed himself in the fingerpicked guitar of folk and blues, in particular the work and style of the late Bert Jansch. McNiff spent his COVID lockdown hunkering down with weekly online gigs, dubbed the “Sundowner” sessions. Exhausting both his own repertoire of songs and those he already loved by others, he had to learn a whole new catalog of material. Tonight We Ride was the logical conclusion: eleven songs encompassing artists McNiff holds the most in reverence. Sure enough, that includes two Jansch songs, alongside The Beatles (“Tomorrow Never Knows”), Leonard Cohen (“Moving On”), and a couple Dylan tunes too. – Seuras Og
22. AWOLNATION My Echo, My Shadows, My Covers, & Me
The opener clearly reveals this album as also pandemic-born: “how can we dance when our earth is turning? how do we sleep while our beds are burning?” The genre of this song is closer to that of what you might expect from modern-rock hitmakers AWOLNATION, but that’s where my predictions of what would happen next faltered. AWOLNATION provides a soundtrack for the full pandemic roller coaster featuring just as much electro pop as their signature rock approach, as well a variety of guest collaborators.
Feeling down? Jump right into “Take A Chance On Me,” where you might find yourself second-guessing, “wait this is the ‘Sail’ group?!?” Need to refresh your workout mix? There is “Maniac.” Other mood boosters are “Just a Friend” or “Flagpole Sitta,” which you might never have expected to appear together in an album setting. Lest you think this is only a tongue-in-cheek album, introspective choices are woven throughout, like “Wings of Change” and “Alone Again (Naturally)”.
If I had to pick a pair of favorites, one fun and one more serious, they would be AWOLNATION putting the MMMBop in “Material Girl” with Taylor Hanson and “Eye in the Sky” with Beck (not a song I was familiar with before, but now a tune I can’t get out of my head). – Sara Stoudt
21. Various Artists Stór agnarögn
If you’re Icelandic, you probably know these songs. Ásgeir Trausti’s 2012 album Dýrð í dauðaþögn was a sensation in his home country, the best selling debut ever in the country (sorry, Björk).
But statistically speaking, you are probably not Icelandic. So you don’t know the original versions of these ten songs – and if you do, it’s probably via the John Grant-translated English versions. No matter. Sigur Rós became sensations without anyone understanding what they were saying. Ásgeir’s songs have beautiful melodies, frequently soaring into Bon Iver-channeling falsetto, and they work wonderfully in this collection of his countrymen-and-women’s covers. Even if you don’t understand a single word (I don’t!), the music will carry you away. – Ray Padgett
The always prolific Jack White releases his second album of 2022 today. So it felt time to look back at his most iconic musical project: Goober & the Peas.
Okay, okay – we’re of course talking about The White Stripes. Though by this point Jack’s released more solo and side-project music than the Stripes’ entire six-album discography, his and Meg’s music still gets covered far more than the rest. Part of that is because that band had actual hits; I doubt there’s anything on his new album that’s gonna do “Seven Nation Army” numbers. But part of it also reflects the stripped-down nature of that band’s work. With just two pieces, combining rudimentary guitar riffs from Jack and cavewoman drumming from Meg, the band’s output leaves plenty of open space to welcome in other interpretations.
So no surprise our list below includes a wide variety of genres, from orchestral bowers to soul belters, bluegrass pickers to reggae toasters. By the band’s end, the Stripes were bringing in genres beyond their beloved blues and garage-rock (see the cabaret of “The Nurse” or mariachi of their Patti Page cover “Conquest”), but these artists take their songs even further afield. They dig deeper into the catalog than you might expect too. The most-common song on our list won’t surprise you (all together now: dunnn, dun-DUN-dun, dun, dunnn, dunnnnnn), but just how obscure some of the others are might, hits and deep cuts from their first album to their last. Fall in love with a cover, below.
Angel Olsen dropped two terrific covers this month. Her version of Dylan’s “One Too Many Mornings,” recorded for the TV show Shining Girls, features haunting electronic textures underpinning her voice. It’s a surprisingly un-folky cover of one of Bob’s early folk songs. Her version of Lucinda Williams’ Car Wheels on a Gravel Road standout “Greenville” is just as good, guitar echoing behind her mesmerizing double-tracked vocals.Continue reading »
Rarely Covered looks at who’s mining the darkest, dustiest corners of iconic catalogs.
What counts as a “rarely covered” Bob Dylan song? Every Dylan song has been covered a million times, right?
Not quite. But most have. So, to find the all-but-unearthed gems in a catalog as heavily mined as Bob’s, we need to define the terms. To make my search for rarely-covered Dylan songs more manageable, I first stipulated one rule: No songs he released on proper albums. Only covers outtakes, Bootleg Series cuts, one-off singles, etc. count for these purposes. It’s not a perfect rule – it’s not like artists are rushing to cover proper album tracks “Ballad in Plain D” (Another Side of Bob Dylan) or “Wiggle Wiggle” (Under the Red Sky) – but it makes the pool easier to navigate.
That no-album-cuts rule wasn’t enough though. If I left it at that, non-album track “I Shall Be Released” would qualify as a “rarely-covered” Dylan song. Ha! So I further disqualified the twenty or so most-covered singles and outtakes. Bye to “Blind Willie McTell,” “Tomorrow Is a Long Time,” “Quinn the Eskimo,” etc.
That left us with an interesting batch of obscurities and oddities that few artists tackle. It still contained a lot of great material, killer deep cuts only covered once or twice. So for Bob’s 81st birthday week, we’re breaking it up into five parts, grouped by when Bob first wrote/recorded the song: Early ‘60s, Late ‘60s, 1970s, 1980s, 1990s and Beyond. We’ll be posting another installment every day this week.
The richest period of them all in terms of sheer quantity of songs is this one. In his first couple years on the job, young folkie Dylan wrote dozens more songs than he could fit on his albums. Some he gave to other artists, some he played live for a while and discarded, some he eventually released on Biograph or various Bootleg Series installments. Though none have been covered often, almost all have been covered at least once or twice. After all, they’ve had sixty years for someone to pick them up.Continue reading »
Butcher Brown ft. Alex Isley – Best Friend (Brandy cover)
Virginia jazz collective Butcher Brown throws it back to ’90s R&B with this cover of Brandy’s 1994 slow jam “Best Friend.” Though it’s a little out of their usual wheelhouse – for one, it has a singer, Ernie Isley’s daughter no less – they ably blend their own leanings with the retro soul-pop feel. If you like this, don’t miss their rooftop NPR Tiny Desk Concert.
Kate Clover – These Boots Are Made for Walkin’ (Nancy Sinatra cover)
“If Suicide produced a Nancy Sinatra and Lee Hazelwood song” is a hell of a tag line, and Kate Clover’s “These Boots” delivers on that premise. The menacing guitar seems pulled straight from “Frankie Teardrop,” while Clover’s vocals channel Sinatra’s swagger. Bonus points for the fun Twin Peaks-esque video.Continue reading »