May 032021
 
jason newsted folsom prison

A few months ago, the writers at Cover Me engaged in an online discussion about what would be their ideal dream cover, i.e. a cover song that did not happen, but should have. For my part, I have always wished that Johnny Cash would have recorded a cover of Metallica’s “One” during his late career phase. In my head, I can hear the Man in Black singing the words “Hold my breath as I wish for death” in a slow brooding tone as someone plucks the bass notes on rickety acoustic guitar. I have no doubt it would have been monumental, equal to his cover of Nine Inch Nails’ “Hurt.” Ah well, never happened. (His cover of U2’s song of the same name, while decent, does not count.)

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Apr 012021
 

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

best queen covers

There is no Queen without Freddie Mercury. On a fundamental level, we all agree that is true. But, if you want to be literal about it, there is Queen without Freddie Mercury. Thirty years after Freddie’s death, the show must go on, and so the band still exists. Adam Lambert now sings Freddie’s parts on tour, just as Paul Rodgers did before him. The Bohemian Rhapsody movie included some new vocal recordings – not by star Rami Malek, but by Canadian singer Marc Martel. And then of course there are the many singers who fronted Queen at the 1992 Freddie Mercury Tribute Concert, broadcast to an audience of up to one billion people. (If you haven’t watched George Michael singing “Somebody to Love” or Annie Lennox joining David Bowie for “Under Pressure,” go do that now, then come back.)

Suffice to say, millions if not billions of people have heard Queen songs sung by singers other than Freddie Mercury. But none of those we just mentioned are covers, strictly speaking, since they feature most or all of the band’s three surviving members. Bassist John Deacon has since departed – and his joining Queen fifty years ago this month, solidifying the lineup, marks the anniversary we’re pegging this post to – but guitarist Brian May and drummer Roger Taylor have kept the Queen name alive. No doubt, when touring becomes a thing again, Queen will be back on the road once again.

The forty actual covers on our list do not feature any members of Queen. As such, they’re free to roam much further afield than Adam Lambert or George Michael, turning the band’s hits and the occasional deep cut into genres from polka to punk, a cappella to acoustic instrumental. Queen dabbled in so many different genres during their time – I mean, “Bohemian Rhapsody” alone! – I think they’d appreciate how malleable their songs can be. Even when they’re not the ones performing their songs, Queen will rock you.

Or, in one case, polka you.

The list begins on Page 2.

May 292020
 

Check out the best covers of past months here.

best cover songs may 2020
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. Continue reading »

May 182020
 

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.

Alex Skolnick routinely straddles the line between two different musical universes. He is known to legions of metalheads as the lead guitarist for the thrash band Testament. Yet, for nearly two decades, he has had a side hustle as a jazz guitarist for the Alex Skolnick Trio, playing an eclectic blend of fusion jazz.

He credits this genre-fluid existence to a moment in the late ‘80s when he was in Ithaca, NY recording Testament’s sophomore album The New Order. According to his memoir, he and a bandmate were flipping through the channels in a hotel when he came across a PBS concert film featuring Miles Davis performing with one of his electric fusion bands. (Given the date and Skolnick’s description it was likely Miles Davis – That’s What Happened: Live in Germany 1987.) “I had to find out more about this music. It had spoken to me, in an almost mysterious way, as though it were reaching out and calling for me to come closer. … I’d soon own more Miles Davis albums than any other artist (even Kiss),” he wrote.

Already an accomplished guitarist, having studied under the legendary instructor Joe Satriani (whose former students include Kirk Hammett and Steve Vai), Skolnick wanted to expand his horizons beyond metal. So, when the recording sessions ended, he tapped several music instructors at his hometown college, the University of California, Berkeley, to help him expand his skills.

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Nov 262019
 
rodrigo y gabriela metallica

Anyone familiar with Rodrigo y Gabriela’s catalog can hear the influence of the acoustic duo’s roots in thrash metal bands, and not just because of the metal covers they have done over the years. The Mexican duo have covered Metallica frequently in their distinctive virtuosic style and they’ve returned to an early favorite with a studio version of “Battery”. It’s one of three metal songs, alongside Slayer and Megadeath, that will be included on their Record Store Day vinyl Mettal EP. Continue reading »

Aug 272019
 

thtIn the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!

mighty mighty bosstones covers

The Boston-based collective known as the Mighty Mighty Bosstones exploded in popularity in 1997, with the release of its fifth album Let’s Face It. Powered by the decade-defining classic “The Impression That I Get,” the band, with its raucous sound and slick-suit-wearing-punk style, captured a moment in time. This mainstream success came at an odd period in pop music history, at the tail end of the decline of grunge, but just before the global takeover of the Swedish-pop hegemon.

The commercial triumph of Let’s Face It led to the inevitable gripes from long-time fans, who grudgingly purchased the album while complaining that it was not as good as whatever early Bosstones’ record they had bought first. Ironically, the album was not actually a significant stylistic leap forward for the band; the pop-culture landscape had simply shifted.

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