Mar 222024
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

Kraftwerk

Sometimes only a greatest hits will do, a necessity to hit those spots and scratch those itches. For me, Kraftwerk’s The Catalogue is one of those times.

I guess that sort of reveals me as the dilettante I try so hard to pretend I am not. But dilettante or no, I bow to no one in my like of some of Kraftwerk’s MO–which, I guess, gives it all away. It’s true, I confess to not having the traction for the band’s entire oeuvre, but the ones I know, I love. More importantly, I recognize their pivotal position, as popular music discovered the absence of a need for guitars. Tougher call than it sounds, but these guys stuck steadfastly to this template throughout various permutations for over half a century, whilst their minions and acolytes all started slyly adding guitars and, horrors, live drums. (Yes, I’m looking at you, Depeche Mode.)

The Catalogue is one of many Kraftwerk kompilations that exist, and probably the best one for the attention of Kraftwerk civilians like me, primarily as it has the highest headcount of hits. Before all start shouting at the screen, The Catalogue, as in the commercially released version, was indeed an eight-disc remastering of the original existing catalogue. But a promo single-disc compilation was also made available (and, according to Discogs, is able to buy, pre-loved, for a very reasonable outgoing). That’s the one I’m basing this Full Album post on. Is this a slightly deceitful ploy? Maybe, but this is my post and, given I actually have a copy, I can. Besides, let’s be honest–who can even remember the original of “Der Stimme De Energie”? (Go on, then, hum it!)
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May 192023
 

Cover Genres takes a look at cover songs in a very specific musical style.

Oho! Well, you were warned that this was coming, but the oft-maligned bagpipes have a surprisingly fertile life in coverland. As with the banjo, it isn’t a genre per se, even if usually most associated with the folk and indiginous musics of the Celtic nations. Luckily(?!) for you, it has leaked into any number of unexpected other genres, which, by and large is where we are going today.

But first, some context. Bagpipes have existed since the dawn of time, the ingredients of their manufacture largely available to mankind from very early on, usually in the form of the body parts of an otherwise eaten animal. All you need is a stomach and a pair of lungs–the stomach from your kill, the lungs your own. Apply lips and blow. At the other end of the “bag” is the chanter, a bit like a whistle. By maintaining a constant input of air into the bag, as it flows out and through the chanter, the sounds produced can be altered.

As sophistication advanced, further “pipes” were added, giving a constant tone, as background. This provides the drone, or drones, suddenly a texture so beloved in modern post-rock circles. If you can’t be blethered to blow, bellows devices bypassed the need for the musicians own lung power, these filling the bag by under-arm pumping action, pushing air into the bag that way. The Scottish highland bagpipes are the prime example of the former, the Irish uillean pipes of the latter, but there area host of other models, some lungs driven, some bellows. So we have the Scottish small pipes, Northumbrian pipes, probably the next best known, ahead crossing the channel to the many and varied European varieties.

As “civilization” advanced, so the pipes tended to move outward, towards the edges of any world known at that time, partly as pianos and violins swept in to classier society, in the hubs of nations and empires, and partly through pipes being exported to the “colonies”, the savages taking their primitive instrument of choice to the very fringes of the world.

Enough natter, let’s groove!
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Dec 132022
 

Follow all our Best of 2022 coverage (along with previous year-end lists) here.

best cover albums 2022

Experimental Elvis. Surf-rock Kraftwerk. Garage-rock Roger Miller. Stoner White Stripes. Twee Beach Boys. Heavy-metal Townes Van Zandt. Retro-soul Merle Haggard.

There was no shortage of ambition, or wild genre-crossing ideas, among this year’s cover albums. Here are the best of the best.


25. Otu
Fuzzy Tunes

Finnish doom metal outfit Otu stay on theme (“fuzzy”) throughout this covers album without ever getting boring. Each of the tracks is of a metal or hard rock song, but the style of cover varies each time. Album opener “No One Knows,” a Queens of the Stone Age cover, doesn’t stray terribly far from the original, just a bit heavier and fuzzed out. This is followed by a version of the White Stripes’ “Fell in Love with a Girl” that sounds almost like an early Nirvana track; the guitar is tuned low enough to sound like a bass, or else it’s a bass guitar playing the main riff. Track 3, a cover of “Iron Man,” is the first on the album to really sound like a true “doom” cover. It reveals that, while the other styles help keep the album from being too one-note, Otu’s strength is the slow, down-tuned, guttural sound of classic doom metal. “Holy Mountain” and “War Pigs” are strong tracks similarly drenched in towering, droning guitars. It’s a fun way to hear some classic tunes and you’ll get the most bang for your buck on this album with some good headphones or loud speakers. – Mike Misch

24. Various Artists
Todo Muere SBXV

Todo Muere SBXV celebrates 15 years of the industrial, gothic, experimental record label Sacred Bones (that info will help to decipher the “SBXV”). Things get loud, as when a trio of metal acts Thou, Mizmor, and Emma Ruth Rundle road through Zola Jesus’s “Night.” They also get dreamy, as when ambient artist Hilary Woods warbles “In Heaven” from Eraserhead (that’s right, David Lynch is a Sacred Bones artist).

Even if you don’t know many of the original songs – and, unless you’re deep in this scene, you probably won’t – the cumulative effect is mesmerizing, moving, and at times a little harrowing. In a good way. – Ray Padgett

23. Jason McNiff
Tonight We Ride

Jason McNiff may not be the best known of names, but this hard-working singer and guitarist has hewn himself quite a place in the annals of that awkwardly-titled genre, UK Americana. McNiff earned a degree in French and Russian, but the lure of his first love proved too strong. He immersed himself in the fingerpicked guitar of folk and blues, in particular the work and style of the late Bert Jansch. McNiff spent his COVID lockdown hunkering down with weekly online gigs, dubbed the “Sundowner” sessions. Exhausting both his own repertoire of songs and those he already loved by others, he had to learn a whole new catalog of material. Tonight We Ride was the logical conclusion: eleven songs encompassing artists McNiff holds the most in reverence. Sure enough, that includes two Jansch songs, alongside The Beatles (“Tomorrow Never Knows”), Leonard Cohen (“Moving On”), and a couple Dylan tunes too. – Seuras Og

22. AWOLNATION
My Echo, My Shadows, My Covers, & Me

The opener clearly reveals this album as also pandemic-born: “how can we dance when our earth is turning? how do we sleep while our beds are burning?” The genre of this song is closer to that of what you might expect from modern-rock hitmakers AWOLNATION, but that’s where my predictions of what would happen next faltered. AWOLNATION provides a soundtrack for the full pandemic roller coaster featuring just as much electro pop as their signature rock approach, as well a variety of guest collaborators.

Feeling down? Jump right into “Take A Chance On Me,” where you might find yourself second-guessing, “wait this is the ‘Sail’ group?!?” Need to refresh your workout mix? There is “Maniac.” Other mood boosters are “Just a Friend” or “Flagpole Sitta,” which you might never have expected to appear together in an album setting. Lest you think this is only a tongue-in-cheek album, introspective choices are woven throughout, like “Wings of Change” and “Alone Again (Naturally)”. 

If I had to pick a pair of favorites, one fun and one more serious, they would be AWOLNATION putting the MMMBop in “Material Girl” with Taylor Hanson and “Eye in the Sky” with Beck (not a song I was familiar with before, but now a tune I can’t get out of my head). – Sara Stoudt

21. Various Artists
Stór agnarögn

If you’re Icelandic, you probably know these songs. Ásgeir Trausti’s 2012 album Dýrð í dauðaþögn was a sensation in his home country, the best selling debut ever in the country (sorry, Björk).

But statistically speaking, you are probably not Icelandic. So you don’t know the original versions of these ten songs – and if you do, it’s probably via the John Grant-translated English versions. No matter. Sigur Rós became sensations without anyone understanding what they were saying. Ásgeir’s songs have beautiful melodies, frequently soaring into Bon Iver-channeling falsetto, and they work wonderfully in this collection of his countrymen-and-women’s covers. Even if you don’t understand a single word (I don’t!), the music will carry you away. – Ray Padgett

The list continues on the next page…

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Apr 152022
 

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!

Ukrainians

This post is not about the Ukrainians forced by circumstance onto the world’s stage. All our hearts bleed both for them and their country, subject to the cruelest and vilest of misjudgments, victims of Putin seeking to leave his mark. But it is closely related, being about the Ukrainians, the Leeds, UK-based band, who have been touting their postpunk take on the folk music of the mother country of founder/guitarist Pete Solowka for nigh on thirty years. And a whole lot more than just the folk music of Ukraine, as covers of their musical cohorts and influences, performed in a Cossack/Slavic style, all stentorian voices and balalaikas, also feature large in their repertoire.

Originally, and sometimes contemporaneously, Solowka has been a member of the Wedding Present, and it was that band that sparked the idea into ignition. When venerable and iconic DJ John Peel asked them to perform a session on his long running evening radio show, the Wedding Present decided to perform in the Solowka family language. They played “Hopa,” a traditional song the guitarist had been brought up listening to and singing along with.

Given the favorable reception, and with Solowka’s own grasp of the language not being up to it, they seconded in the presence of Len Liggins–or, to give him his full name, the legendary Len Liggins, a Russian (and Ukrainian) scholar, fluent in each language and a dab on the fiddle besides. This too went down well with the listeners, bar one Roman Romeynes, just possibly not his real name, a musician from another Leeds band, who jested they were taking the proverbial and bastardizing the tradition. So who better to then enroll, this offshoot now having a life of its own, spinning free from the Wedding Present. (The band had sacked Solowka; he said this was due to the greater acclaim given this experiment than the parent band.)

That groundbreaking 1989 Peel session, and the later sessions that followed, all eventually became available in recorded form, with 1991 seeing the debut release by the now-official band, with both band and release being named The Ukrainians. When Romeynes left shortly afterwards, the band consolidated as a more regular unit, leaving the Wedding Present linkage shattered behind them.

They initially found an appropriate home on the maverick and left field record label Cooking Vinyl, home also of Jackie Leven and Oysterband. After making a further pair or so of albums with that label, they started their own label Zirka, through Proper. They have been relatively prolific, with three further studio albums of (largely) original material, two live recordings, a covers compendium (which we reviewed here), and a glut of EP and singles. These have encompassed further covers, including of traditional Ukrainian folk songs, as well as all sorts of idiosyncratic songs drawn from sources as unlikely as varied. All transcribed into their well-worn mix of fiddle, accordion and balalaikas, accompanied by crashing bass, resounding guitars and pounding drums.

Perhaps classifiable as a niche taste at home, they have become superstars in the eastern European diaspora, not least Ukraine itself. Under the cataclysmic events of the the past six or so weeks, the band have decided they cannot stand idly by, and have launched a tour, all monies going in support of the refugee crisis.

Ukrainians Benefit

Let’s look at some of their covers….
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Jun 112021
 
german cover songs

We’re not generally in the practice of publishing reader mail at Cover Me (doesn’t mean we don’t appreciate getting it!). There’s no Letters to the Editor page like you’d see in an old magazine. The comments section and social media serve that function well enough. But today, we’re making an exception.

Last summer, a German reader named Karsten Schroeder wrote in offering to share some cool covers he liked by German bands. We said sure – we’re always looking to discover new stuff, after all. We didn’t hear much after that and, to be honest, forgot about it. Then, a full ten months later, he emailed an exhaustive look at the covers scene in Germany. Across 123 songs, Karsten explored covers spanning punk – his favorite genre – to hip-hop, folk to pop to a few genres that are Germany-specific (“Fun-Punk,” “Deutschrock”). It was so rich and detailed, full of amazing covers that we – and, I expect, you – had never heard before that we asked him if we could publish it. Continue reading »

Mar 052021
 

Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.

Siouxsie Through the Looking Glass

By 1987 the angular sounds of Siouxsie and the Banshees had mellowed enough for them to be regulars in the British charts and on the accompanying TV shows. The striking appearance of icy she-wolf Siouxsie had always contributed much to their success, her atonal approach to melody both idiosyncratic and chillingly effective, the only remnant from their first appearances, wherein the grasp of rudimentary technique was echoed by the lack of any instrumental prowess. Which only goes to prove the worth of their perseverance with the punk ethos: in any other time the band wouldn’t have stood a chance.

Fresh from touring Tinderbox, an album that had cemented their reputation, the band spent the downtime back in the studio, producing the covers album they had always wanted to do. No stopgap contractual filler, this; Through the Looking Glass was squeezed in ahead of any expectation. Of course, the band had already shown their cover capabilities, with the delightfully uber-psychedelic version of the Beatles’ “Dear Prudence,” a brave move in a time when admitting a Beatles affinity (in public, at least) might be considered poor form.

The initial choice of songs came largely from the early ’70s, a time when the old order was beginning to look pregnable, with new styles beginning to emerge, biting at the ankles of the towering giants of an increasingly bloated music industry. Bands such as Kraftwerk were showing how much (and how little) could be done with cheap electronic keyboards; Roxy Music were blurring and blending styles and genres into a sci-fi retrodelia; Television were proving outriders for the earlier and more cerebral NY take on punk. Add in the bizarre world of Sparks, quirky oddballs in their homeland, who were beginning to find acceptance in the UK. Then mix well with some of the more favored sons of the sixties: the Doors, Iggy from the Stooges, and the Velvet Underground’s John Cale. Here were where Siouxsie and company went panning for gold. With a song from The Jungle Book thrown in for good measure. And perhaps the oddest version yet of Billie Holiday’s “Strange Fruit” for dessert.
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