Dec 012023
 

In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.

Shane MacGowan covers

No matter how much longer than anyone’s expectations Shane MacGowan may have lived, the news that this polymath contradiction has died still manages to come as a body blow and a shock. Only last week there were sighs of relief, with his being discharged from his Dublin hospital bed, his home for most of the last year, with his wife Victoria citing he was being discharged for Christmas. Clearly it was to die, which he did, in his own bed.

Our job at Cover Me is not to replay all the tales of MacGowan’s excesses and exploits yet again; Lord knows, there will be plenty of that elsewhere. Here we come to celebrate his supreme gift of songwriting, through a prism of cover versions. MacGowan crafted songs that seemed drawn from the deepest well of Irish tradition, full of arcane and archaic imagery. He used a lexicon drawn from mythology, poetry and the gutter, yet imbued with a recognition of all the current ways and woes of the world. He thus confounded listeners, baffled by how all of this could emanate from his shambling and battered frame. How could someone who seemed barely able to speak manage to produce work of such beauty?

I caught the Pogues but once, early on in their career, mayhap 1986, in a dodgy venue in Birmingham, UK. It was, in turns, exhilarating and terrifying, the latter courtesy the howling, drunken mob of a pre-Christmas audience. Keeping a low profile, I was entranced, as the band rollicked through song after song after song. It was impossible to see the join between the traditional and the new, all soaked in a melee of whistle, accordion, banjo and guitars, the permaslurring frontman both totally out of it and totally in the moment. And this was well before they became TV favorites, on Top Of The Pops, first for their duet with the Dubliners, a version of “The Irish Rover,” and later with perennial Xmas favorite “Fairytale Of New York.” I was instantly hooked.

The first few albums have rightly become iconic–if anything, more so with the passage of time–as the quality of MacGowan’s lyricism has taken focus over the tunes. But, before losing sight of the tunes themselves, riddle me this: how many individuals and how many bands can lay claim to inventing a whole genre? That’s what MacGowan and the Pogues did, founding a genre that continues to have worldwide traction. In the same way as few places in the world fail now to have Irish pubs, so too there are Celtic punk bands from all four corners of the globe. But, returning to his lyrics, Bob Dylan apart, few writers have provoked such academic attention and praise as MacGowan, and there will be a whole lot more now.

So let’s have a look at some of those songs…
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Jul 282023
 

One Great Cover looks at the greatest cover songs ever, and how they got to be that way.

Christy Moore

“Danny Boy” is a song guaranteed to wring a tear from the misty eyes of most Irish natives, including this one (though, admittedly, there have occasionally been tears of rage shed in this parish over some versions – Cher, anyone?). Such lacrimation is particularly effusive among Irish emigres – again, including this writer – usually at the end of a long night in some foreign hostelry when faraway hills appear exponentially greener and more fertile than they once were. My compatriots and I are nothing if not shameless wool gatherers when there’s drink involved. Mind you, we’re also susceptible to putting our fists up on the slightest pretext. And if you want to take issue with that latter characterization, we can always settle it outside.

Of course, the delicious irony is that “Danny Boy,” for all that it’s something of an unofficial Irish anthem, was penned by, ahem, an Englishman. And so, a potted history.
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Aug 252022
 

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

Elvis Costello Covers

When Elvis Costello first appeared on the scene, the press fell over themselves not only to praise him, but to pigeonhole him. He was a punk. He was a new waver. He was a nerd, what with his glasses and gawky suits (Dave Marsh memorably said that “Elvis Costello looks like Buddy Holly after drinking a can of STP Oil Treatment”). Most commonly, he was lumped in with Graham Parker, Joe Jackson, Billy Joel, and others as an Angry Young Man. “I’m not angry,” Costello protested on My Aim Is True, and everyone nodded and smiled and patted his head.

Costello wasn’t interested in living on that particular cul-de-sac. He began expanding his musical palette, making more complex songs with more complex rhymes. He delved into other genres, starting with country & western (to the dismay of both Costello fans and C&W fans, and to the pleasant surprise of music fans) and moving on to blues, jazz, orchestral, classical pop, and more. As he became a greater student, he became a greater teacher, giving credit in word and action to his influences, penning a well-received autobiography, and hosting the talk/music show Spectacle, where he interviewed and played with his peers. He continues to record – his most recent album, The Boy Named If, was released earlier this year – and has settled into the role of elder statesman that his talent earned him long ago.

Costello turns one year elder today, his 68th birthday. We’re celebrating with a collection of the fifty best Elvis Costello covers we could get our hands on. They reflect his wide range of styles, revel in his literacy, plumb his depths. Most of all, they reveal his heart, showing over and over again how his love of song can lift, wrench, open up the people who listen to him and to his music. We hope you find this list as worthy of celebration as Elvis Costello is.

– Patrick Robbins, Features Editor

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May 032019
 

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

joni mitchell covers

Joni Mitchell is 75 and won’t be with us forever. She suffered an aneurysm in 2015, and she’s coping with the little-understood Morgellons disease. She has difficulty walking, and has not spoken publicly in years. But if her place on earth is tenuous, her place in the heavens is secure; millions of people already look up to her every day.

Joni Mitchell’s songs are famous for being intensely personal, a deep expression of her self that people nevertheless relate to. Those who aspire to her voice become near-slavish devotees. There’s a great New Yorker piece about a small show of Joni’s that a drunken Chrissie Hynde gets overly caught up in (“That’s a REAL singer up there!”), and Hynde’s not alone. Mitchell isn’t just a real singer, though. She’s a real songwriter, a real painter, a real guitarist, a real follower of her muse – a real artist, one of the realest of the past hundred years. That authenticity is what continues to bring people into her circle on a daily basis.

In an excellent essay for NPR, Ann Powers wrote: “Like her prime compatriots Bob Dylan and Leonard Cohen and her favorite protégé Prince, no one can adequately echo her; even great singers, taking on her songbook, admit they can only hope to achieve proximity.” Indeed, a Joni Mitchell cover is never just a tribute – it’s an assertion, an artist coming forth to pick up a gauntlet she lay down decades ago.

We found 30 covers that show the artists doing an especially good job at matching their talents to Joni’s, creating new works of art that, no matter how novel or innovative they may be, never set out to eradicate the original artist’s signature. May her art continue to open eyes, whether through her own performances or those of others, for centuries to come.

–Patrick Robbins, Feature Editor

May 302018
 

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

pink floyd covers

Coming in at 40 tracks, our third ‘Best Ever’ countdown is our longest yet. This feels appropriate; Pink Floyd’s songs tend to be a whole lot longer than Talking Heads’ or Fleetwood Mac’s. A band whose default length was set at “epic” deserves a list just as winding.

Luckily, the covers community has obliged, allowing us a list as discursive as Pink Floyd itself. A band that, for better or worse, can get pigeonholed into a specific sound and era, gets transformed into a whole host of other genres and moods. Psychedelic rock is represented here, of course, but so is bluegrass, soul, and disco. One cover even includes a “featuring Tupac Shakur” credit, which is probably not what Gilmour or Waters envisioned. Though the latter would certainly appreciate the walls being torn down.

Twenty-minute tracks that might seem intimidating to some don’t phase these artists. Some turn them into tight four-minute pop songs. Others, if you can believe it, extend the songs further. So strap in, and set the controls for the heart of the cover… Continue reading »

Nov 252015
 

joyTo 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.
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