Jun 212024
 

‘The Best Covers Ever’ series counts down our favorite covers of great artists.

The Kinks covers

If The Kinks had stopped after their first year, they’d still be legends. “You Really Got Me” and “All Day and All of the Night,” two of the all-time-great sixties rock singles, were both released in 1964. That’s more classics in one year than most bands have in decades (and their year gets even better if you slide in January 1965’s “Tired of Waiting for You,” recorded before “All Day Etc”).

But if The Kinks had stopped after their first year, this list certainly wouldn’t run 50 covers deep. Because, of course, they didn’t stop. They kept releasing hits, including Top 10s in both the ’70s (“Lola,” “Apeman”) and ’80s (“Come Dancing”). Maybe even more importantly, they kept creating, kept innovating, kept pushing forward, not settling into retreading their early garage-rock sound. That wide breadth gets reflected in the Kinks songs that artists covered. The big hits, of course, are well represented. But so are plenty of album cuts and singles that “flopped” at the time but were rediscovered years later.

Ray Davies turns 80 today. So today, we celebrate his birthday—and his ability to withstand decades of interviews about whether he and brother Dave will ever reunite—with our countdown of the 50 Best Kinks Covers Ever.

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Oct 132023
 

We stretched our own meaning of cover version previously, when we gave the earlier three volumes of the Jeffrey Lee Pierce Sessions Project a belated review. Now, and against the odds, lo and behold, here is a fourth. Its title, The Task Has Overwhelmed Us, provides a small glimpse into the work that went into it and its end result.

As before, Task has been put together by London-based guitarist and one-time Pierce sideman Cypress Grove. Once again, it is based on demos and early recordings by the prolific Gun Club auteur, with earlier volumes stemming from cassettes squirrelled away in a drawer and found after Pierce’s untimely death. As with the others, it brings together quite the cast of contributors, many reprising roles from the earlier sets. In a reflection of the time it took to put this Task together, this includes both the living and the dead–perhaps fitting, as Pierce himself also “appears,” like a ghost at the feast, across a fair few of them.

With 18 tracks spread across four sides of vinyl, it would be impossible to talk about all the tracks here. Of course, there is the issue that few, if any, of these songs can be compared to any original. Even if you think you recognize the name of the song, possibly from one of the many Gun Club albums, the chances are that the words will be different; Pierce was notorious for writing completely different versions of, nominally, the same song.

A word is necessary for the production duties, which transcend the occasional slip from the sublime, transforming even the slightest melodic sow’s ear into a a golden purse. Sharing those duties with Grove is Australian singer, Suzie Stapleton, herself also based in London, and who appeared, if just as a performer, on the last volume. Here she steps right up, showing a sure and deft hand on the sound balance, as well as giving one of the album’s more striking vocal offerings.
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Nov 302022
 
best cover songs of november 2022
Bob Dylan – I Can’t Seem to Say Goodbye (Jerry Lee Lewis cover)

Bob Dylan doesn’t change his setlists much anymore. In fact, on his recent UK and European tour, he played the exact same setlist every single night…except one. The day it was announced Jerry Lee Lewis passed away, Dylan returned to the stage after his usual finale “Every Grain of Sand.” As anyone who’s read his new book knows, Bob knows his music history. So he skipped the obvious picks and tackled the quite obscure Sun Records-era outtake “I Can’t Seem to Say Goodbye.” Continue reading »

Feb 282022
 

In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.

Mark Lanegan

It doesn’t seem five minutes since this, less than two years ago, with the publication of his memoir Sing Backwards and Weep seeming a good time to celebrate his apparent immunity to death. Even in a world becoming nervously aware of the pandemic, he seemed then a figure above such inconvenience, a latter-day Keith Richards made flesh, even in recovery. Little then did we know what his second volume would reveal, Devil In a Coma ripping apart that semblance, the Devil possibly in that very coma at the time of that article’s writing. I guess the assumption was that he had fully recovered from that further near-death, making last week’s news all the more astonishing and upsetting. At the time of this writing the cause of his death remains unknown. I hope he went in peace.

Not the place to regale and remind of his derring-do; others have done that better and by more right elsewhere. Here we celebrate, again, his winning way with the songs of others, his uncanny instinct to possess and inhabit the writings of other artists, as if the words had been written solely for his sepulchral tones. I don’t like the Devil comparison, however many coming up against him in their own lives might, preferring the image that he had the voice of God, with no need of any article, indefinite or otherwise. Sure, an older God, a vengeance-is-mine God, where forgiveness has to be earnt, much as he too tried to atone for his past behaviors, a forbidding God not to be taken in vain.

Hyperbole? Why not? Enjoy these ten further covers and sink one in his memory.
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Nov 162021
 

Soulsavers is, or was, the nom de guerre for the initially electronica production team Rich Machin and Ian Glover, who have increasingly developed into the providers of a lush neo-gospel soundscape, incorporating element of country, soul, and blues, into which a variety of singers have embedded (usually) rich and evocative vocals. Dave Gahan is, of course, the front man for Depeche Mode, as famous for his medical history as his work in those early adopters of electronica/pop. His tones are perfect for the Soulsavers brand, and he first came aboard in 2012, singing and writing much the material for The Light the Dead See. This prove a bigger draw than earlier material and the collaboration continued, with the next album, Angels and Ghosts, perhaps ominously now under the Dave Gahan and Soulsavers soubriquet. The duo then made an instrumental album, Kubrick, Gahan returning to Depeche Mode duties.

Last year Gahan began to drop hints as to a further collaboration, and that it would be a covers collection: “When I listen to other people’s voices and songs—more importantly the way they sing them and interpret the words—I feel at home. I identify with it. It comforts me more than anything else.” A taster, the Cat Power song “Metal Heart,” dropped a month or so back and all seemed to be auguring well. Now we have Imposter, the full basket of fruits of their labors. And we have a problem.
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Jul 172021
 

Rock music has always idolized and iconicized those seen to be casualties. If you sing and/or play, premature death and/or mental illness always seems to add to the luster of flickering creative flames. Conversely, good health and a productive work ethic is sometimes demonized, until old age brings about a respectability to earlier derided middle-aged output. Roky Erickson fell firmly into the former category, a wide-eyed and vibrant presence in the 1960s, knocked down by the all too familiar cocktail of which came first, drugs or mental instability. The answer, as always, and as with Syd Barrett, Peter Green and Brian Wilson: probably a bit of both.
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