Amy Helm – Twilight (The Band cover)
Arlo Parks – Redondo Beach (Patti Smith cover)
I’ve wanted to do a “Full Albums” on Patti Smith’s Horses for years. But it, and she, gets covered less than you’d think. This beautiful piano “Redondo Beach” gets me one step closer. Though, admittedly, I already had Courtney Barnett’s recent cover for that slot. Someone cover “Break It Up” already!
Talking Heads only ever recorded one cover, and when I talked to David Byrne about it for my book, he seemed to have mixed feelings on the subject. “There’s always a little bit of resistance to recording a cover like that because it’s kind of a crowd pleaser,” he told me. “I’d seen it happen before, where radio DJs who pick what they’re going to play will often pick a cover song… So then a band gets known for covering somebody else’s song as opposed to writing their own material. They have to go through a struggle for years to get identified with their own songs.”
Talking Heads recorded “Take Me to the River,” it became their biggest hit up to that point, and Byrne said: That’s it. No more covers. The band never followed it up with a second.
He’s relaxed the rules a bit more in his solo career, most recently covering Janelle Monae’s “Hell You Talmbout” on tour (he says he’s bringing the cover to Broadway, too). And clearly he’s been listening to covers. For his DB Radio show on his website, he just compiled a wonderfully eclectic mix of his favorite covers. The theme, he says, is artists doing the unexpected, from Sonic Youth covering The Carpenters to Miley Cyrus covering Nine Inch Nails. And when the song choice itself may not be surprising – Patti Smith covering the Rolling Stones, say – the arrangements are. Here’s what he wrote on his website:
Willie Nelson’s latest album My Way is billed is as a tribute to Frank Sinatra. But it’s really just another chapter in Nelson’s retelling of the Great American Songbook. It features Nelson’s signature dude ranch cabaret sound that he’s perfected over the course of the last four decades, starting with the 1978 classic Stardust.
Throughout My Way, whether he’s backed by a large orchestra or small jazz combo, Nelson has the uncanny ability to make the tracks his own. There’s his instantly recognizable voice, which still sounds impeccable. He infuses the lush arrangements with heavy amounts of harmonica. While Nelson does not break any new musical ground, listening to the record is a bit like hanging out with an old friend, or at the very least, with a familiar (red-headed) stranger.
There’s a great scene in the not-so-great Cole Porter biopic De-Lovely where Kevin Kline tries to explain to an actor how to properly sing the classic song, “Night and Day.” “It’s about obsession,” Kline, as Porter, tells his young charge. “It’s about being in love. You’ve been love? Alright, obsess about it. … It’s relentless.” Obsession, lust and the clash of emotions as daytime shifts into night make for good tropes in a show tune origin story. The themes work equally well when transplanted into the metal genre as Portland cross-genre covers band MetalMorphosis recently demonstrated on their cover of the tune.