Melbourne-based pop artist Elizabeth – just Elizabeth – has released a cover of Fleetwood Mac’s “Go Your Own Way” as a bonus track on the upcoming deluxe edition of her debut album The Wonderful World of Nature, whose sunny pop melodies overcast with heartbreak prompted comparisons to Lana Del Rey. Released almost a year after her debut, this cover continues to solidify Elizabeth as a promising Australian singer-songwriter.
Over our time tracking cover songs (13 years this month!), we’ve written about hundreds of new tribute albums, across reviews, news stories, and, when they’re good enough, our best-of-the-year lists. We also have looked back on plenty of great tribute albums from the past in our Cover Classics series. But we’ve never pulled it all together – until now.
Amigo the Devil – Before He Cheats (Carrie Underwood cover)
When we last heard Amigo the Devil, he was stripping down a Tom Jones song to create a haunting murder ballad. Now he does the same to another highly polished pop song – but a much more recent one. “[The original is] this very confidence-boosting, really good-feeling, power-infusing song,” Amigo’s Danny Kiranos told Rolling Stone. “I was curious what it would sound like if you took away the positive nature of it and kept the lyrics, essentially the emotions they are portraying.”
What is there left to say about Fleetwood Mac’s Rumours at this stage? It is a veritable blueprint of what a perfect pop album should sound like, and the drama surrounding it is as iconic as the record itself. Unsurprisingly, its most beloved track and the one that’s spawned the most cover attempts is Stevie Nicks’ incandescent “Dreams”…which makes sense, for beyond its general evergreen perfection, it’s kind of foolproof, with strong enough bones to withstand even the most experimental cover attempts. But that fact makes it even more impressive when someone takes on one of the deeper cuts (though I suppose in the case of the ubiquitous Rumours, we should just refer to them as ‘non-singles’)…like the dark queen-Grande dame that is “Gold Dust Woman.”
Lindsey Buckingham once famously referred to “Gold Dust Woman” as “an evil song,” and his sinewy groove of a guitar line supports that notion tenfold. Sinister and ominous, equal parts pop song and exorcism, Stevie herself explained later it was “My symbolic look at somebody going through a bad relationship and doing a lot of drugs and trying just to make it, trying to live. That song was about a very heavy, very bad time in my life.”
Composer, multi-instrumentalist singer-songwriter Julia Holter recorded her version of the song way back in 2012 (for a MOJO Magazine curated Fleetwood Mac tribute CD called Rumors Revisited). Up until last week the song had only been available as part of that compilation, but it’s now officially available through the streaming services. Holter added that she’d “always wanted to release it” and describes it as a “rough home recording with the raw energy of that time for me when I first started touring and playing my music outside of LA with a band.” It also happens to be one of the finest covers of the song ever recorded. Holter’s “Gold Dust Woman” is spare, hymnal and utterly spellbinding. There’s a quiet urgency to it, a chilliness that pulls it miles away from the smoky grittiness of the original, and it’s absolutely entrancing.
Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
It seems that we like the Mac over here at Cover Me. This is our third Full Album Fleetwood Mac feature, following on from Rumours and Tusk, the other exemplars of this most acclaimed iteration of the ever-evolving band. Sure, loads of us (myself included) adore the 60’s into 70’s UK white-boy blues band, but c’mon–only a real curmudgeon would deny the greater pulling power of the Buckingham-Nicks Mark 1 years. Not that this pair, accomplished songwriters both, were the only pull; Christine McVie continued to add value with a constant drip feed of classics. And, looking back, given the “other” music breaking through in 1975, the so-called year zero of punk rock, how was it that this epitome of smooth found (and still finds) such purchase?
The story is well-trodden. A blues band down on their luck, reeling from the loss of all their most potent forces, and of several replacements of lesser merit, come close to throwing in the towel. Mick Fleetwood, drumming mainstay from the start, chances on Lindsey Buckingham, offers him a gig with the band. Buckingham said yes, but only if his girlfriend could also be recruited. What could go wrong? Well, the relationship of Buckingham and Nicks, as well as that of John and Christine McVie, were both going rapidly south. Fleetwood was also divorcing his wife (not a band member). Luckily the rot didn’t really hit until 1975’s eponymous LP had been made and released to no small success. Mind you, the mayhem didn’t stop the follow-up, Rumours, from doing better still, and the various co-sanguinous shenanigans thereafter making Tusk the critics’ favorite. But we are getting ahead of ourselves. This piece is to celebrate that brief window, possibly, of relationship harmony, maritally and otherwise. Possibly.
In the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!
Much has been written about the rise and fall of the Dixie Chicks. They were riding high with hit after hit in the late ’90s and very early ’00s, but after one on-stage comment in 2003, everything changed. We almost take for granted how music and politics intertwine now without rocking the boat too much. When Taylor Swift took a stance on a Senate race in her home state, President Trump remarked: “Let’s say that I like Taylor’s music about 25% less now, OK?” and life went on. But twenty-ish years ago, when Natalie Maines said they were ashamed that then President George W. Bush was from Texas, the backlash was swift and severe.
However, it looks like the Dixie Chicks are finally ready for a comeback. After a European tour in 2016, a collaboration with Beyoncé in the same year, and a song with Taylor Swift on her latest album, the Dixie Chicks are focusing on their own new album, due this year. The album is being produced by Jack Antonoff of Bleachers, whose list of writing and producing credits include Taylor Swift’s album Lover, Lorde’s Melodrama, and St. Vincent’s Masseduction. I’m ready for some “Don’t Take the Money” energy on this album, and with a title like Gaslighter (teased here), I’m hoping for an explosive, patriarchy smashing, good time. #sorrynotsorry to all of the Earls out there.
I’m all for covers of the Dixie Chicks, but we’ll save that for another post (ok, here is one to tide you over). For now, let’s take a listen to the Dixie Chicks’ interpretation of classics from country and soul standards to modern hits.