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.
‘The Best Covers Ever’ series counts down our favorite covers of great artists.
Despite the fact that Barry, Robin, and Maurice Gibb have sold upwards of 120 million records, they can sometimes seem oddly underrated. They aren’t regarded with the reverence afforded to other artists that emerged during roughly the same era, like The Rolling Stones or The Who. They haven’t generated the same level of dramatic intrigue as Elton John or Queen. And discovering their music was never part of some traditional teenage rite of passage like Pink Floyd or Led Zeppelin. But while they don’t seem to receive near the same level of acclaim as the aforementioned artists, their music has remained as utterly ubiquitous as just about all of them. There are few other artists as essential to documenting the sound of an era as The Bee Gees were to the late ’70s.
Throw the Here At Last…Bee Gees… Live album from 1977 on the turntable or queue up the stream. You will be confronted with a veritable assembly line of perfectly constructed, exquisitely performed pop songs. Take a step back and really listen. The outlandish songwriting gift on display is nothing short of mind-blowing, You might think, how is it even possible to have written this many incredible songs? And those are just 20 or so selected tracks Barry, Robin, and Maurice had done up to that point – before Saturday Night Fever! There were dozens more to come.
We were overwhelmed by the number of incredible covers of both Bee Gees classics and deep cuts and their glorious diversity. But we really shouldn’t have been surprised. Despite the band itself not always getting its due, the Bee Gees’ songs remain for everyone and forever.
– Hope Silverman
The list begins on Page 2.
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.”
As sales of recorded music have plummeted – and streaming royalties failed to make up the difference – many professional musicians’ income streams come increasingly from so-called “syncs”: their music being licensed to commercials, movies, TV shows, etc. One popular sub-genre in the sync world is cover songs, often hit pop songs made slow and/or spooky for a trailer or show (see The New Yorker‘s recent article on the phenomenon). We’ve already posted two cover-song syncs just this week: Sharon Van Etten covering “Suspicious Minds” for a coconut water ad and the HBO show Big Little Lies licensing an old Fleetwood Mac cover by POP ETC.
Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
Did you hear “Born in the U.S.A.” at your Fourth of July BBQ? Maybe a diehard Springsteen fan even played the full album. It certainly packs a punch; seven of the album’s twelve songs became top-10 hit singles. Taking patriotism to a whole new level, this album was even the first commercial CD made in the United States.
Marking the 30th anniversary of the Born in the U.S.A. album, Dead Man’s Town was released in 2014 with the premise that the original album was so good that, as Luther Dickinson of North Mississippi Allstars states, “any of those songs could be played with acoustic guitar alone and still be great.”
Rolling Stone described the album as “reimagining Born in the U.S.A.… with a reduced approach more influenced by that of the acoustic Nebraska.” This cover album certainly would have followed Nebraska more congruously than the original Born in the U.S.A., which marked a departure from Springsteen’s earlier work yet brought him his greatest commercial success.
Dead Man’s Town captures the melancholy aspects of the Fourth of July, a holiday that marks the inflection point of the summer. Summer love is bending towards goodbye. Back to school advertisements abound. If you are looking for a soundtrack to summer’s end or a new take on your favorite Springsteen classics, this is the album for you. Here is a taste of what this album has to offer.
We already counted down the 50 Best Cover Songs of 2018 but, inevitably, many of our staff’s personal favorites get left off. So, before we begin scouting for what might become the best cover of 2019, we share the best of the rest, an unranked hodgepodge of worthy covers that only just missed our year-end countdown.