Any month with a new cover by Beyoncé is a big month. Admittedly, her piano-crooning “Moon River” like so many others have piano-crooned “Moon River” – and for a Tiffany’s ad no less – is slightly underwhelming. But we’ll take what we can get, and, even if the approach is hardly novel, Beyoncé’s got the pipes to deliver.Continue reading »
Jarvis Cocker and Wes Anderson have shared a bit of a creative pas de deux through the last decade. The former Pulp frontman, and current bandleader of the eponymous group Jarv Is…, appeared initially in Anderson’s 2009 Fantastic Mr. Fox, playing a claymation town crier. (Given the fox connection, it’s not surprising to hear Cocker’s song in that film lovingly cop from Roger Miller’s jangly tunes and ramblin’ bird-bard role in Disney’s Robin Hood.) Anderson’s remaining 2010s films took him to farther corners of the globe, sonically speaking; the Isle of Dogs soundtrack, for example, almost exclusively features taiko drumming from Kaoru Watanabe and songs from classic Japanese cinema. But Cocker and Anderson have seemingly continued to vibe with each others’ work from afar.Continue reading »
Last week, Donald Trump gave his headlining speech at the Republican National Convention. Right after, fireworks exploded over the Washington Monument, soundtracked by a cover of “Hallelujah.” A few minutes later, a second singer covered “Hallelujah” while the entire Trump family watched. Both covers were unauthorized, and Leonard Cohen’s estate quickly said they are exploring legal action. (It must also be said that the covers weren’t very good – you won’t find either one on this list.)
Though hardly a shining moment in the history of Cohen covers, this event speaks to the cultural ubiquity of his work, and of “Hallelujah” in particular. For an artist who never sold that many records, Cohen has become about as iconic as icons get. Humble to the end, he would no doubt object – politely, of course – to that statement. But it’s true. His songs transcend his albums, they transcend his performances, they even transcend Leonard Cohen himself.
There’s never a bad time to talk about Leonard Cohen covers, but they’ve really been on my mind the past couple years. Why? Because I’ve been writing an entire book on the subject, which is out today. It’s in the 33 1/3 series of small books on specific albums. The album I selected? The 1991 tribute album I’m Your Fan: The Songs of Leonard Cohen. Without it, you probably wouldn’t even know “Hallelujah”… but we’ll get to that later.
In the book, I explore not just that one tribute album, but the entire history of Leonard Cohen covers generally. It’s a long and fascinating story, but suffice to say here that Cohen wouldn’t have had anywhere near the reach he did without others covering his songs. Covers gave him his start – Judy Collins’s, in particular – and resurrected his career more than once.
There are far too many great Cohen covers to fit in a list like this (and our Patreon supporters will soon get a bonus list of 100 more of them). But we all dug deep to pull the highlights, both the best of the totemic covers as well as brilliant but lesser-known interpretations. The covers span his entire catalog too. Plenty of “Hallelujah”s, of course, and versions of the ’60s songs that made him famous, but also covers of deeper cuts from albums throughout his recording career, up to and including his very last. We hope you’ll discover some new favorites, and maybe be able to listen to the classics you already know in a fresh light.
To 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. Continue reading »
They Say It’s Your Birthday celebrates an artist’s special day with other people singing his or her songs. Let others do the work for a while. Happy birthday!
Ric Ocasek, who turns 64 today, may be best remembered for buzzing around in the “You Might Think” video, but between 1978 and 1988 he led the Cars to FM radio immortality with a string of successful singles and albums (and two quality solo albums to boot). After the Cars folded, Ocasek’s skills as a producer became much in demand, and he stood behind the glass for bands such as Bad Brains, No Doubt, Nada Surf, and Weezer’s multi-platinum Blue and Green Albums. In both musician and producer roles, Ocasek’s influence has proven huge and lasting; bands such as The Strokes, Weezer, Fountains of Wayne, and even Nirvana owe Ocasek debts of gratitude for his style and sound, melding ‘50s rockabilly to ‘70s new wave with ‘80s rock and pop sensibilities. Continue reading »
Saturday night’s Reading Festival featured an enviable pair of headliners: a reunited Pulp and a reinvigorated Strokes. Pulp finished their set, but frontman Jarvis Cocker didn’t stray far; he joined the Strokes soon after for a cover of (speaking of reunited) the Cars on “Just What I Needed.”Continue reading »