Sep 282026
 

The 1968 Byrds album Sweetheart of the Rodeo, for all intents and purposes, kickstarted country-rock into, eventually, the mainstream. In some unholy sleight of hand, newly enrolled Byrd Gram Parsons steered McGuinn and co full pelt into, rather than any earlier dabbling, what might later be called Americana. With the album awash with banjos, pedal steel and fiddle, these were sounds less commonly encountered at the Fillmores, east or west.

You don’t need me to retell the story, do you? It’s all available elsewhere anyway. Today the emphasis is all around Israel Nash Gripka, a singer-songwriter with form, having issued a slew of albums since 2009. Dropping his surname in 2013, he has increasingly made his mark as an accomplished and varied musician, as much at home with a full band as he is alone in a cabin with his guitar. He’s been equally happy espousing much of modern technology, embracing all the attributes of 21st century studio opportunities. He has hit the Cover Me radar on a number of occasions, often to take note of songs from his 2011 EP, Working Class Hero & Other Favorites. Whilst that was little more than his plaintive voice and picked guitar, his release of his own Sweetheart of the Rodeo couldn’t be more different.
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Jul 222024
 

Raveonettes SingI don’t know about you but I just love the fusion of ’60s pop and scuzzy walls of post-punk guitars: think Jesus & Mary Chain, My Chemical Romance and, of course, da brudders Ramone, melody and noise in a perfect pairing. Arguably, the Cramps started off this attractive meeting of opposites back in the mid 70’s. The baton has since passed to and fro, between froth and feedback, so often as to make it sometimes difficult to where it all started. (The answer, by the way, is probably Phil Spector.)

Denmark’s Raveonettes, the not-husband & wife duo of guitarist/vocalist Sune Rose Wagner and bassist/vocalist Sharin Foo, know this. They’ve spent their career allying close two-part harmonies into a scaffold of guitar noise. With their last album having been released in the Mesozoic era of 2017, many had deemed the band lost in action.

But Cleopatra Records knew otherwise. That L.A. institution has been the home of innumerable records that record and relate the co-terminosity of opposing genres. In fact, they featured the Raveonettes’ version of “The End,” that epic Doors song, etched forever into Coppola’s Apocalypse Now, for their somewhat limply titled Indie Goes Pop compilation. Now they have encouraged the duo to embark on a set of ’60s covers. Given the pair started off singing Everly Brothers songs in the clubs of Copenhagen, this isn’t too much a stretch. The love for the material still remains extant within their performance, if a little dialed back, on The Raveonettes Sing….
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Mar 282022
 

That the venerable Canadian band Cowboy Junkies should preface their new album, Songs of the Recollection, with a comment that, long before they were musicians, they were music fans, should be no great surprise. Anyone in the least bit familiar with their work will be already aware of their erudite taste in that department, such is the body of covers work they have built up over the years, on their own recordings and their myriad contributions to innumerable tribute albums. Unsurprisingly, we here are big fans and have featured them, or of them, more than the once.

Songs of the Recollection brings together some obscure oldies recorded for other projects (just over half the album’s tracks being previously available), plus a few newly minted ones; as ever, the band extends across genres and styles in their own idiosyncratic way, making it feel the songs were specially written for their spare minimalism, all spiky guitars in slo-mo, and Margo Timmins’ haunting voice, a glimpse of Canada’s icy north.
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Jan 302021
 

They Say It’s Your Birthday  celebrates an artist’s special day with covers of his or her songs. Let someone else do the work for a while. Happy birthday!

There are few bands with such a way with covers as the Cowboy Junkies, that in no small part to the icy warmth of singer, Margo Timmins, an astonishing 60 this month. She was born in Montreal, 1/27/61, and I have long been a fan, maybe not from the very start, but certainly once ‘Trinity Sessions’ threw down the gauntlet, quietly and emphatically. Birmingham Town Hall, in the English midlands, used to be a dreadful venue, any sounds not completely muffled being left free to echo around the pillars, hopeless for any band with any degree of amplification. It has since had a refurb, and has lost, thankfully, that legacy, but the Junkies were perfection there then, every pin dropping with perfect clarity, the most important pin being that of Timmins, an ethereal shimmer filling the gap between the controlled calm of the instrumentation.

In the subsequent years the band, Timmins and her two brothers, Michael on guitar and Peter on drums, along with family friend Alan Anton playing bass, have strayed little from that template. Initially supplemented by the instrumentation of Jeff Bird and others, adding mandolin, harmonica, dobro, steel and fiddle, latterly it would become the core quartet, as blues became as much an influence as country had been before. The band had been started by Michael, a record-hungry youth who had been in bands since high school. Margo had never sung in public before he goaded her to add vocals, and she initially sang facing away from the stage, such was her crippling shyness, echoing the experiences of Michael Stipe and Jim Morrison, two other equally iconic vocalists.

Over a 35-plus-year career, the Cowboy Junkies have produced 18 studio albums, six live albums, and seven compilations, with innumerably more material courtesy their website. (Sadly it seems that much of that rare and archive material in currently unavailable.) Covers have always been a feature; most of their records containing one or two, and they’re staples on tribute projects, to artists as varied as Gram Parsons and Blind Willie Johnson. In 2009, Timmins also found the time to release an all-cover solo album, enticingly entitled Margo’s Corner: The Ty Tyrfu Sessions, Volume 1. She has also added her froideur to any number of other artists, as a backing or additional singer, usually to fellow Canadians.

Let’s drill down into some of the best examples of her transformative skills, starting with perhaps the best known and, arguably, the best example.
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Mar 312020
 

Check out the best covers of past months here.

best cover songs march 2020
Adam Green – All Hell Breaks Loose (Misfits cover)

Misfits go mariachi! Adam Green, best known as one half of the Moldy Peaches, plays “All Hell Breaks Loose” like it was “Ring of Fire.” He writes: “In The Misfits and in his glorious solo work, Danzig bridged punk and metal with the blue-eyed soul music of the mid-1960’s like The Righteous Brothers and The Walker Brothers. I’d had an idea for a while to do a Scott Walker / John Franz style production at punk speeds, and the Misfits song ‘All Hell Breaks Loose’ seemed like the perfect vessel for the experiment.” Continue reading »

Jan 132017
 

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!

keith richards

Over the years, the perception of Keith Richards has changed from “He’ll die any day now” to “How has he not died yet?” to “He’s never going to die.” In 2016, a year that wiped out Bowie, Prince, and Abe Vigoda, not to mention Emerson, Lake, and (Arnold) Palmer, the soul of the Stones kept right on glimmering. A popular meme shows him reading the paper and saying, “Hey, Mick, look who I outlived this week.” In a way, it’s self-fulfilling prophecy; Keith is rock and roll, and rock and roll – especially in the form of the Rolling Stones’ songs – will never die.

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