San Francisco-based Korean electronic music artist Lucy Liyou has been releasing music since 2019. Though she has sampled Mariah Carey before – albeit an interview of Mariah Carey – she is not the kind of artist you’d first image to cover the pop diva. But that’s what she’s done, as part of FADER’s new FADER & Friends: Volume 1 covers-for-charity compilation.
Avhath – Cool / Levitating / Don’t Start Now (Dua Lipa covers)
What’s better than one Indonesian black-metal Dua Lipa cover? Three Indonesian black-metal Dua Lipa covers! Not that you’d ever know these were Dua Lipa songs unless you were listening really closely to the lyrics (and could manage to make them out).
The Band of Heathens – El Paso City (Marty Robbins cover)
During lockdown, Band of Heathens hosted a regular livestream variety show called Good Time Supper Club. One segment, “Remote Transmissions,” featured them covering a new song every episode – over 50 in all. They’re collecting some of the best on a forthcoming album of the same name: Remote Transmissions. “Making records is always about cataloging any point in time. We wanted to celebrate the unique collaborative aspect of the show,” guitarist Ed Jurdi told American Songwriter. “What better way to document the last year than with these songs?” First up is this take on a Marty Robbins country classic.
Mariah Carey;s “Always Be My Baby” is the single that tied her with Madonna and Whitney Houston for the most successful woman in US chart history in terms of #1s. To most people, though, it’s one of the more straightforward pop tracks in her mid ’90s stylistic shift towards more hip hop-influenced music. It was a massive hit but not as much as at least one other song from the same album. (Mariah was really big in the ’90s.)
Daniel Romano’s Outfit – Sweetheart Like You (Bob Dylan cover)
This one’s for all the Dylan superfans. In 1984, Bob Dylan played three songs on Letterman with L.A. punk band The Plugz. They were gritty and garagey and raw. It boded well for his new sound. And then he never played with them again. The album he was ostensibly promoting, Infidels, was much smoother, helmed by Mark Knopfler. For those who still wonder what could have been, Daniel Romano covered the entire album as if he’d recorded it with The Plugz.
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.
Power couple Kelly Ogden and Luis Cabezas formed the Dollyrots, a pop punk band, in 2000. The oft-quoted origin story sets the scene for their musical style:
“We were watching the 2000 presidential election results, and at four o’clock in the morning, when we found out that George W. Bush had won, Luis and I were like, ‘The world’s probably gonna end anyway, and I don’t want to go to med school,’ so we thought, ‘Let’s just do the band.'”
Honestly, who hasn’t felt the same urge recently?
If you are “fashionably socialized” you may have at least heard of The Dollyrots’ biggest hit, “Because I’m Awesome,” in one of the variety of television shows, movies, and commercials that featured it. Along with releasing original music consistently over the years, The Dollyrots have covered a wide range of songs that span genres and decades of origin. Here is just taste of what they have to offer cover-wise.
Every Wednesday, our resident Gleek Eric Garneau gives his take on last night’s Glee covers.
In “Extraordinary Merry Christmas,” Artie (Kevin McHale) is offered the chance to direct McKinley’s glee club in a televised Christmas special. Little do the other club members know he takes his Christmas inspiration from some bizarre sources.
“Extraordinary Merry Christmas” is not the first Christmas special to air on television this year. It’s not even the first Glee Christmas special to air, thanks to the irreverent, genius and criminally unpopular NBC sitcom Community, which last Thursday dedicated its entire Christmas episode (entitled “Regional Holiday Music”) to spoofing the Fox musical juggernaut. The staff behind Community probably couldn’t have predicted that they’d get payback for spending a half hour in Glee‘s shoes; this week, Glee decided to live in Community‘s world with an episode you’d expect to see on that show or, really, anywhere but Glee. The Christmas special Artie ends up producing is a (directly referred-to) mash-up of the much-maligned 1978 Star Wars Holiday Special, Judy Garland’s classic 1963 Christmas special, and at the end some Charlie Brown Christmas for good measure. The result basically ends up a cover of a TV show. Though Glee certainly likes to allude to existing pop culture, even going so far as to recreate certain music videos shot-for-shot, it has never lived in another universe for two acts before. That’s Community territory, but Glee pulls it off marvelously.