Dave Richardson – Bright Phoebus (Lal & Mike Waterson cover)
Vermonter Dave Richardson digs deep into folk-rock history on his new album Palms to Pines, covering the title track of Lal & Mike Waterson’s 1972 album Bright Phoebus. Deeply obscure at the time – only 1,000 copies were initially pressed – it became known as “folk music’s Sgt. Pepper” among the very, very few people who actually heard it. The record has seen a recent resurgence with champions like Arcade Fire and Jarvis Cocker leading to a 2017 re-release on überhip Domino Records. Richardson makes it sound like a classic all along.Continue reading »
For a few years now, long-running French video company La Blogothèque has been filming a series they call “One to One” at Bon Iver’s various European festivals. They blindfold one audience member and bring them into a private room for a concert for one. Bon Iver did one, and Damien Rice’s is a must-watch. Personally, that experience sounds more awkward than enjoyable – especially with all the cameras in your face – so I’d rather just watch someone else’s personal concert on video. This one is a gem, feature The Staves with Anais Mitchell delivering a gorgeously-harmonized Sheryl Crow cover.Continue reading »
Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
I was a big fan of Roxy Music, in both their spiky earlier incarnation and their smoother second phase, then lost a little faith as Bryan Ferry seemed to endlessly noodle around and around the same somewhat bland and anodyne motifs, solo recordings palling – apart from, I have to say, and appropriately on this site, his all-Bob cover album Dylanesque, which carried a bit more verve and spark than his own stuff. However, back and currently on the road, Ferry seems to have hit upon a bit of a stride – largely, in truth, by an extensive revisiting of his Roxy catalog, rarely playing material from this century. Be that as it may, “More Than This,” from 1982’s Avalon, and actually their last UK top ten hit (it barely bothered the US charts, peaking at 102), has always struck me as a bit of a throwaway, with the by-then Ferry formula padded out in what was becoming a somewhat repetitive set of chord progressions, later repeated ad nauseum in his subsequent solo career. Don’t get me wrong, it’s not that it’s bad, it’s just a bit meh. But, inexplicably, it has become a bit of a standard for covering, perhaps on account of one of the versions commented upon below. Continue reading »
Follow all our Best of 2014 coverage (along with previous year-end lists) here.
Back when we redesigned the site in 2010, we created basic star icons to represent the ratings we’d give an album when we reviewed it. 2 stars, 3.5 stars, etc. When we posted an album review, we’d find the corresponding icon where we last uploaded it. However, earlier this year we couldn’t find one of the icons we were looking for. Why? It turns out we’d never used it. We’d never before given an album a perfect five stars.
This year, for the first time, we did. Which should suffice to say it’s been an excellent year for cover albums. True, a few of the marquee tributes we most eagerly anticipated fell flat, either too formulaic (The Art of McCartney) or too out-there (that Flaming Lips’ Sgt. Peppers tribute we’ll never speak of again). But in the cracks and under the radar, cover and tribute albums thrived.
In our list of the twenty best, we’ve got everything from big names on major labels to DIY projects thrown up on Bandcamp. We’ve got New Orleans jazz, Parisian dub reggae, and songs that were popular when your great-great-great-great grandfather was calling town dances. Something for everyone, I guess. Something for all our fwends (sorry, that was the last time, promise).
YouTube is filled with amateur cover “artists.” Most stink. On the ‘Tube extracts the exceptions.
On NBC’s The Voice, Blake Shelton picked Dia Frampton after she had been singing for four seconds. Four seconds. It’s no wonder. The 23 year old singer songwriter from Utah has a talent and versatility that somehow manages to coexist with her quietly powerful style.
The Voice may end up being Frampton’s big break, but she’s been a star of the internet music scene for years in the acoustic-duo-turned-full-band she started with her sister, Meg. Fittingly, they go by Meg & Dia. Recently, though, Dia has been blowing up the band’s YouTube channel with her own solo covers and we’re all lucky for it.Continue reading »