The previous supergroups we’ve featured for Supergroup Week have been members of other bands, forming a new band with musicians based on their musical networks. This sometimes is a natural progression: band dynamics cause groups to fracture and leave members looking for a new team to create music with. Friends from a musical past-life join others that they’ve jammed with at some point to try something new. This time around, we have solo artists joining forces. This suggests a longing to collaborate and be part of a bigger musical effort. We also switch genres, from rock to country & western with some outlaw flair. The supergroup networks are still strong in the ’80s, often first marked by solo artists covering others’ work that they admired, and their legacies sparked new supergroups in the ’10s.
Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
“Wichita Lineman” is a certified classic, a fixture in the great American songbook, full stop. But it is also a work in progress. In a way.
The truth is that Jimmy Webb had every intention of writing a middle section and another verse about his solitary lineman. But Glen Campbell got hold of an early draft, and then recorded his version before Webb even knew about it. Who knows if Webb might have ruined a good thing with further revision; what’s certain is that “Wichita Lineman” is a shining example of the Less is More principle, and we owe Campbell a lot for rushing it out.
Campbell also gets some credit for the song’s creation. A year before “Wichita Lineman” dropped, Campbell scored a major hit with another Jimmy Webb gem, “By the Time I Get to Phoenix.” So the singer suggested the writer come up with “another song about a place.” Webb resisted the idea initially, but his poetic imagination was more receptive. Inspired by a long drive through the arid flatness of Oklahoma and the sight of a worker on a telephone pole, Webb hatched the song idea, and presented a draft of “Wichita Lineman.” It moved the homesick Campbell to tears, and that was enough for him. It was enough for everyone else, too.
Campbell got his Wrecking Crew buddies together in the studio, and added a baritone guitar solo to create an instrumental section. That, and some string arrangements, added meat to the bones of the song, and off it went. Webb knew nothing about the recording, and assumed Campbell had lost interest. When Webb found out Campbell had cut the track, he told Campbell it wasn’t done yet. Campbell replied, “Well, it’s done now!”
The song launched into the upper reaches of the pop, country, and adult contemporary charts. Soon it was in the hands of a few hundred artists attempting their version, including some of the best vocalists and instrumentalists of its time and ours. The Glen Campbell version may remain the definitive one, but there’s quite a few musicians who nailed it too.
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Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.
Up until a few years ago, I had no idea who Radka Toneff was. I stumbled upon her only because I was doing what what all Cover Me nerds do in their spare moments: looking for cover versions of their favorite songs (in my own case it’s to add a little spice to my specific-song-themed-playlist situation because I’m a deluxe version nerd). Continue reading »
Despite the controversy surrounding the Best Picture-winning film Green Book, the movie might actually be the best thing to ever happen to the legacy of pianist Don Shirley. Though Shirley’s relatives have objected to the way Shirley was portrayed in the film, before its release his life and music had been largely lost to history.
As of this writing, his biography on Allmusic.com is only one paragraph. Many of his albums don’t even have track listings on the site. The website AllAboutJazz.com lists him twice, both times in articles about the film. In the jazz and popular music encyclopedias at two local libraries, I only found one reference to him, a single small paragraph in The Biographical Encyclopedia of Jazz.
They say nostalgia works in 20-year cycles, and this year the music of 1996 has been in the media a lot. And if you believe the music blogs, it turns out 1996 was a truly groundbreaking year for every possible genre. Over at SPIN: “The 96 Best Alternative Rock Songs Of 1996.” Complex: “Best Rap Songs of 1996.” Junkee: “Ten reasons 1996 was a great year for dance music”. Loudwire: “10 Best Metal Albums of 1996.” Red Bull Music: “1996: Why it was a great year for pop”. Suck it, 1995! (Kidding; similar articles were of course written last year too.)
We’ll be honest: 1996 was not some magical, pioneering year for cover songs. It was also not a terrible year. It was just, you know, another year. There’s no overarching theorem of 1996’s cover songs that wasn’t true in ’95 or ’97. But even so, Cover Me wasn’t around in 1996, so we never made a Best Cover Songs of 1996 list (our first year-end list came in 2009, with the Kings of Convenience’s “It’s My Party” topping it, and you can catch up on all the lists here). So we decided, before the year ends and we take our look at the best covers songs this year, why not take a nostalgic rewind and do 1996 just for fun, twenty years too late. Continue reading »
This Week on Bandcamp: Charlie Schafer, Matthew Bryan Beck, Sneak Up On The Sea, Praything, Corey Pallon
This Week on Bandcamp rounds up our favorite covers to hit the site in the past seven days.
Today’s set takes a simpler, quieter approach than most. No dubstep, chillwave, or other “new” sounds to be found here. Just basic productions showcasing classic songs done right. Continue reading »