We’re not generally in the practice of publishing reader mail at Cover Me (doesn’t mean we don’t appreciate getting it!). There’s no Letters to the Editor page like you’d see in an old magazine. The comments section and social media serve that function well enough. But today, we’re making an exception.
Last summer, a German reader named Karsten Schroeder wrote in offering to share some cool covers he liked by German bands. We said sure – we’re always looking to discover new stuff, after all. We didn’t hear much after that and, to be honest, forgot about it. Then, a full ten months later, he emailed an exhaustive look at the covers scene in Germany. Across 123 songs, Karsten explored covers spanning punk – his favorite genre – to hip-hop, folk to pop to a few genres that are Germany-specific (“Fun-Punk,” “Deutschrock”). It was so rich and detailed, full of amazing covers that we – and, I expect, you – had never heard before that we asked him if we could publish it.Continue reading »
When we began our Best Covers Ever series a little over three years ago, Bob Dylan was about the first artist who came to mind. But we held off. We needed to work our way up to it. So we started with smaller artists to get our feet wet. You know, up-and-comers like The Rolling Stones and Nirvana, Beyoncé and Pink Floyd, Madonna and Queen.
We kid, obviously, but there’s a kernel of truth there. All those artists have been covered a million times, but in none of their stories do cover songs loom quote as large as they do in Bob Dylan’s. Every time one of his songs has topped the charts, it’s been via a cover. Most of his best-known songs, from “All Along the Watchtower” to “Knockin’ on Heaven’s Door,” didn’t get that way because of his recordings. In some cases fans of the songs don’t even realize they are Bob Dylan songs. That’s been happening since Peter, Paul, and Mary sang “Blowin’ in the Wind,” and it’s still happening almost sixty years later – just look at the number of YouTube videos titled “Make You Feel My Love (cover of Adele)”.
So needless to say, there was a lot of competition for this list. We finally narrowed it down to 100 covers – our biggest list ever, but still only a drop in the bucket of rain. Many of the most famous Dylan covers are on here. Many of them aren’t. The only criteria for inclusion was, whether iconic or obscure, whether the cover reinvented, reimagined, and reinterpreted a Dylan song in a new voice.
With a list like this, and maybe especially with this list in particular, there’s an incentive to jump straight to number one. If you need to do that to assuage your curiosity, fine. But then come back to the start. Even the 100th best Dylan cover is superlative. Making it on this list at all marks a hell of a feat considering the competition. (In fact, Patreon supporters will get several hundred bonus covers, the honorable mentions it killed us to cut.)
In a 2006 interview with Jonathan Lethem, Dylan himself put it well: “My old songs, they’ve got something—I agree, they’ve got something! I think my songs have been covered—maybe not as much as ‘White Christmas’ or ‘Stardust,’ but there’s a list of over 5,000 recordings. That’s a lot of people covering your songs, they must have something. If I was me, I’d cover my songs too.”
Cover Me began in 2007 and we did our first year-end list in 2008, so 2000 isn’t that long before we were following this stuff in real time. But, in music eras, 2007 and 2000 seem eons apart. 2000 was nü-metal and Napster, Smash Mouth and the ska revival. Beyoncé was in the quartet Destiny’s Child; Justin Timberlake only had a one-in-five chance of being your favorite member of N’Sync (or maybe one-in-four…sorry Joey). By the time this site started seven years later, all this seemed like ancient history.
There were a lot of extremely prominent covers in 2000. “Prominent,” of course, doesn’t necessarily meaning “good.” This was the year that Madonna covered “American Pie” (not to be outdone, Britney Spears then took a stab at “Satisfaction”). It was the year a Jim Carrey movie soundtrack inexplicably asked bands like Smash Mouth and Brian Setzer Orchestra to cover Steely Dan. It was the year of “Who Let the Dogs Out?” Bet you didn’t even know that one was a cover (unless you’re a faithful Cover Me reader).
None of those are on this list (though, if you want more dated trainwrecks like those, stay tuned Monday for a bonus list I’m calling the “The Most Extremely ‘2000’ Covers of the Year 2000”). But 2000 offered a wealth of wonderful covers, often flying just under the mainstream radar. Some of them still seem of the time – anything ska, basically – but most could have come out decades earlier. Or yesterday.
YouTube was still a few years away, as was streaming more generally, so covers still mostly came out through “traditional” avenues: on albums, as the b-sides to singles, etc. As I wrote in my new book, tribute albums were big business by this time too, which means that many 2000 covers emerged through that format. Even narrowing this list down to 50 was hard, which is why Cover Me’s Patreon supporters will get a batch of 150 Honorable Mentions.
Check out the list starting on Page 2, and stay tuned for the best covers of this year coming in December.
Today a double album’s worth of material is being released to celebrate the U.K.’s legends of glam rock – Marc Bolan and his band, T.Rex. Coinciding with the group’s long-overdue induction into the Rock & Roll Hall of Fame in November, AngelHeaded Hipster (its name culled from Allen Ginsberg’s famous poem, “Howl”) features 26 covers of classic T-Rex songs by a diverse collection of artists ranging from Kesha to King Khan and U2 to Nick Cave.
AngelHeaded Hipster is produced by the late Hal Willner – who sadly passed away from complications from Covid-19 this past April. In the liner notes, Willner said, “As I was listening and getting familiar with all of Bolan’s work, I discovered that this guy was actually a great composer…I put him in the same pantheon as other composers that I’ve explored before (Kurt Weill, Thelonious Monk, Nino Rota, etc.). So, the concept for the album became to show Bolan as a composer…”
In Pick Five, great artists pick five cover songs that matter to them.
Tomorrow, veteran rock band Local H releases its ninth album, the Steve Albini-produced LIFERS. It is a weird time to be releasing an album. Many major artists have postponed releases, with no way to properly promote them. One of the best live rock bands out there, Local H can’t play any shows to support it. So tonight they’re doing a live streaming show on their Facebook page tonight. Guarantee it will rock a little harder than the acoustic guitar’d singer-songwriters dominating the quarantinestreams.
LIFERS doesn’t include any covers, but frontman Scott Lucas has been covering a new song every day on that same Facebook page. He has a different cocktail for each one, and even dresses up for some of the performances, from yacht-rock leisure to the Tiger King. It’s a long way from the self-serious stereotype of the ’90s grunge band. But even when Local H was a ’90s grunge band, they always had a sense of humor (see “Eddie Vedder,”“All the Kids Are Right”). And they’ve outlasted most of their peers, continuing to record killer albums to an extremely passionate fanbase. LIFERS is the perfect album title.
So we decided to ask Scott about his own favorite covers, which he ranked from number five to number one. Here’s what he said:Continue reading »
Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
“Friday I’m In Love” is a dumb pop song, but it’s quite excellent actually, just because it’s so absurd…. It’s so out of character – very optimistic and really out there in happy land. It’s nice to get that counterbalance. People think we’re supposed to be leaders of some sort of “gloom movement.” I could sit and write gloomy songs all day long, but I just don’t see the point. – Robert Smith
For a mopey band, the Cure sure knew their way around a good pop song. Any number of sunshine ‘n’ rainbow combos would give their proverbial eyeteeth for the skills to write, record, and release songs like “In Between Days” or “Boys Don’t Cry.” But of all their songs, none seem so counter to Robert Smith & Co’s image as “Friday I’m In Love.” It’s so exuberant, so euphoric, you almost don’t know what to do with it. Picture someone skipping down the sidewalk, hands up high, beaming at the sunshine, people turning to stare at his wake – that’s “Friday I’m In Love.”