“Covering the Hits” looks at covers of a randomly-selected #1 hit from the past sixty-odd years.
“The Reflex” was Duran Duran’s first single to top the American charts, in 1984, and remains one of their most-streamed tracks on Spotify. Despite all that, though, it hasn’t generated as many covers as you’d think. Covers database SecondHandSongs lists almost three times as many covers of “Hungry Like the Wolf.” And “Ordinary World.” And “A View to a Kill.”Continue reading »
“Come Undone” wasn’t even supposed to be a Duran Duran song. Guitarist Warren Cuccurullo and keyboardist Nick Rhodes were creating it for a potential outside project when singer Simon LeBon heard the song and started to write lyrics to the song pretty much immediately. The band were nearly done with their next album, but the song happened so quickly that they were able to squeeze it on to the release. It their last truly global hit to date.Continue reading »
Two years ago, I ranked the 24 best covers of James Bond theme songs for the 24 movies to date. The original plan was to include one cover of every song, but that quickly became untenable. There were a million good covers of “You Only Live Twice,” and zero of Chris Cornell’s “You Know My Name” (and I haven’t seen anyone pick up the mantle since his death either).
If only I’d waited.
A new Bond tribute album came out earlier this month, and it includes a cover of every single Bond theme. Yes, including the ones from Sheryl Crow, Madonna, and of course Cornell. It’s called Songs. Bond Songs: The Music Of 007 and, in honor of Roger Moore’s passing today, we thought we’d post all the new covers of the themes from Moore’s seven movies.Continue reading »
Follow all our Best of 2016 coverage (along with previous year-end lists) here.
We’ve done a Best Cover Albums list every year since 2009. That list usually ends up being a reasonably even mix of various-artist tributes and single-artist records. But in all those lists, our number-one pick has been, without fail, a single-artist album (for those keeping score at home, we’ve awarded The Lemonheads, Peter Gabriel, Baaba Kulka, Neil Young and Crazyhorse, Xiu Xiu, Andrew Bird, and Bob Dylan – who didn’t turn up to accept our prize either).
This single-artist streak is no coincidence. It is naturally easier for one artist, if he/she/they are good enough, to maintain consistent quality control over 10 or 15 tracks. Whereas even the best mixed-artist tribute records usually have one or two dud tracks. Take the National-curated Day of the Dead, certainly this year’s highest-profile tribute album. Some of these Grateful Dead covers were so good they’ll appear on next week’s Best Cover Songs of 2016 list. Many others were dreck, filler, or superfluous. So we ranked the record – spoiler alert – at #20, sort of an honorable-mention position.
Even various-artist tributes comprised of uniformly good covers typically don’t add up to more than the sum of their parts. For example, we ranked MOJO Magazine’s Blonde on Blonde tribute pretty high this year because we liked just about every one of the Bob Dylan covers on offer. But there’s little common ground between an aggressive electronic “Rainy Day Women #12 & 35” and a tender folk “I Want You.” The record is more a bunch of great cover-song fodder for mixes and playlists than a truly great and unified album.
I sound like I’m being critical, but again, these are among the best cover albums of the year. This is usually the most a various-artist tribute album can aspire to: more good covers, few bad ones.
But this year, for the first time in our eight years making these lists, a various-artist tribute album rose so all the way to the top. This album was not only good top to bottom, but it felt like a real album, not just a collection of covers. It ably walked the finest of lines: showcasing diverse approaches to the source material while just remaining cohesive enough to stand together as a complete listen.
I don’t want to give away what that number-one album is just yet. We’ll get there, and there’s already enough of a tendency with year-end lists to skip straight to #1 and ignore the rest. I no doubt have not helped by hyping this magical album that broke our eight-year streak. But every one of the twenty albums we picked offers something worth hearing.
We’ve got jazz-sax forays through prog-rock and twee-pop covers of vintage punk tunes. There’s a ’60s New York icon honoring her then-competitors in the British Invasion, and a band from that same British Invasion honoring their American inspirations. There are tributes to great musicians who died this year, and tributes to long-dead musicians who there’s no news hook for honoring now, just great songs.
This list itself is as “various artists” as it can get, a whole array of genres and styles with one common thread: musicians honoring their inspirations and influences. Let’s dig in.
For a musician, the honor getting to sing the James Bond theme song is in its own category. Many movies need songs, but you never see articles wondering who will do the next Fast and the Furious song (even though more people would likely hear your song there than in Bond). Giving their music to sell a product is something musicians regularly do, but rarely take as a career honor.
But given the track record Bond theme songs have had, the appeal makes sense. James Bond songs might even have a higher batting average than James Bond movies (and certainly higher than James Bond actors). And there’s a prevailing sense artists are chosen for abilities beyond just star-power, despite plenty of counterexamples over the years. Some of the most iconic songs were sung by singers who rarely topped the charts elsewhere – three by Shirley Bassey alone – whereas attempts to grab zeitgiesty performers have flopped.Continue reading »