May 132022
 

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

stevie wonder covers

For some artists we look at for these lists, it seems like every time someone covered one their songs, it turned out pretty good. Leonard Cohen was like that; the quality of the average Cohen cover is fairly high. John Prine, too.

Stevie Wonder is not one of those artists.

It’s not his fault, or the fault of his songs, but his material often gets sucked into the same cocktail-jazz muck that fellow piano man Billy Joel’s does. Nothing wrong with that sort of lounge jazz-pop when done well – and there are a few times on this list when it is – but there’s a lot of mediocrity to wade through. Stevie’s performance and production skills are so sharp that, when placed in lesser hands, his songs can come off as sentimental shlock. All the “Isn’t She Lovely”s alone are so sugary sweet you feel like you’ll get diabetes.

But here’s the good news: Covers of Stevie Wonder’s songs are so ubiquitous that, even when you weed out the bad and the just-okay, you’re still left with plenty of greatness. The fifty below span funk, bluegrass, rock, hip-hop, jam band, jazz, and into galaxies beyond. So here they are, signed, sealed, and delivered to knock you off your feet.

P.S. Join our Patreon to get this entire list – and every other Best Covers Ever – in playlist and MP3 formats!

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Aug 122016
 

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

After The Gold Rush

Surely After the Gold Rush, this “uniformly dull” record, as Rolling Stone magazine put it at the time, is the peak of Neil Young’s output?

Yet somehow I always seem to forget it, tending to immediately opt for the feistier, zeitgeistier options of Zuma and Ragged Glory, and the civilians always go for the milquier toast of Harvest. But nowhere is there such simple beauty as on this 1970 record, his third solo album after leaving Buffalo Springfield. It captures most of Shakey’s tropes on one disc – his ragged guitar, his playing always suggesting playing in mittens if not boxing gloves, his delicate acoustic whimsy, and the left-field oddness, exemplified here by “Cripple Creek Ferry.” True, volume and feedback are restrained, maybe 8/10 rather than his later 11 (at least), and it’s possible that the record is even the better for that.

So when I do remember After the Gold Rush, when I come back to it, it astonishes. I can play it side to side (yes, of course vinyl) and be instantly transported to a teenage me, dreaming of a future I couldn’t ever quite picture (and indeed haven’t quite yet), all hopes and fears, intermingled with tears and joy.
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