May 312024
 

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

Sisters of Mercy

As regular readers know, here at Cover Me we put together a Best Covers Ever list every month for a celebrated artist. We’ve recently done the Pet Shop Boys and Sheryl Crow. And before them we did the biggie – The Beatles – and before them, Bob Dylan! But every now and again, there’s a particular genre that’s crying out for the Best Covers Ever treatment – and this month it’s the Dark Genre. It’s goth!

So why now, you ask? Are goth covers really a thing? And why don’t Alien Sex Fiend or Fields of the Nephilim have their own Best Covers Ever features?

Fair questions, all. First off, goth music is everywhere right now. It may have emerged out of the UK post-punk scene and enjoyed its most innovative period from 1980 to 1982, but it’s now the reason we have Whitby Goth Weekends in April and November (well, that and Count Dracula), World Goth Day on May 22, and goth nights down the Hatchet Inn in Bristol most nights, particularly Thursday. It’s also why we have heaps of goth books on the market right now, from John Robb’s The Art of Darkness to Lol Tolhurst’s Goth: A History and Cathi Unsworth’s Season of the Witch, all trying to explain goth’s lasting influence as a musical subculture: the fixation with death, the dark theatricality, the Victorian melodrama, the leather, the thick black eyeliner, the fishnet tights, the deviance, the sex, the deviant sex, and, of course, spiders. Continue reading »

Jan 312024
 
best cover songs january
BABii — Lovefool (The Cardigans cover)

Brent Amaker And The Rodeo – Gut Feeling (Devo cover)

Continue reading »

Sep 292023
 
best cover songs
Al Green — Perfect Day (Lou Reed cover)

It’s been 15 years since the last Al Green album. Does “Perfect Day” signal the beginning of his comeback? Unclear — I thought so after his last single, another cover, and that was five years ago. But we can hope. “I loved Lou’s original ‘Perfect Day’—the song immediately puts you in a good mood,” Green explained. “We wanted to preserve that spirit, while adding our own sauce and style.” Continue reading »

Feb 142022
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Blue Monday covers

“Blue Monday” is feels too darn recent to be almost 40 years old. That may be due to the number of times it has been re-released, each time never outstaying the welcome the immediately discernible intro offers. Which is one of the problems, but we’ll get to that.

New Order, having emerged phoenix-like from the ashes of Joy Division and the suicide of frontman Ian Curtis, appeared to have hit the ground running with the iconic “Blue Monday.” But it was actually a year or two into their formation, 1983, earlier recordings having been more akin to the maudlin gloomcore of their earlier incarnation. Only after a wider exposure to techno and house music, along with the absorption of synthesist Gillian Gilbert into the band, did they have the conviction to fully embrace and add such textures to their existing sound.

“Blue Monday” epitomized where guitars and dance music might meet, making for a new breed of visceral electronica, with some organic frailty heightening the robotic artifice. The biggest selling 12″ single ever made, it remains a perpetual in the live repertoire on the still functioning band, who, according to setlist.fm, have played it 448 times in their 41 year history.

There are more covers of this song than you might expect. Broadly, they fall into two categories: the copycat, identifiable in seconds from the staccato drums, and the ambient acoustic deconstruction. They make up, between them, well over half the field available. The former seems sort of pointless and the latter, well… Much as I love that style, they are all a bit samey and a bit, given they are mostly Gallic in origin, vieux chapeau, which made the decision for me that they would not be included here. (Except, in passing, the one by Nouvelle Vague.)

No, I like my Blue Mondays to stand out. Like these five here…
Continue reading »

Sep 092020
 

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.

Mathilde Santing

As a teen back  in the ’80s, I was completely, 100% besotted with the music magazines coming out of the UK. I loved the glossies like Smash Hits, No.1, and Record Mirror, as well as the weeklies, specifically NME and Melody Maker. I would read them cover to cover, simultaneously ogling the heartthrobs and making lists of what I wanted to buy based on the reviews (or, okay, someone’s haircut). It was through these endless piles of paper that I first got wind of The Associates, The Smiths, and Kate Bush, all of whom I ended up maniacally worshipping (and writing still-unanswered fan letters to). And of course, as there was no such thing as streaming at that point, the reviews in these mags were often the determining factor as to whether or not I would buy a record. My teen funds were meager, so there was often a lot riding on how convincing the review was. It was in one of these magazine reviews that I first stumbled upon Dutch singer Mathilde Santing.

Santing began her solo career in 1982 with the release of a self-titled album featuring an eclectic mix of standards, Rodgers and Hammerstein amongst them, and pop tracks by the likes of the Beach Boys and mad genius Todd Rundgren (hold that last thought, it will be important later!). As quietly adventurous as the track listing was, there was no question as to what the album’s real strength was — Mathilde Santing’s extraordinarily warm, elastic, gorgeous voice.

Santing’s next album, 1984’s Water Under the Bridge, marked something of a turning point in her career, though it wasn’t clear-cut at the time. Gone were the covers, replaced instead by original material of the jazzy, intermittently quirky, ’80s indie pop variety. While focusing on originals was the standard move for a young pop singer, the album turned out to be something of a swan song for Santing; it ended up being her last consisting solely of original material. With a handful of exceptions, from this point forward, it was all about the covers.

It was over a review of her next album that Santing first caught my eye and subsequently hooked me for the foreseeable future. While 1987’s Out of this Dream sported a small cluster of really fine originals, more than half the songs on the album were covers. Upon seeing the track list, I instantly recognized her as a kindred spirit, a total music nerd soul sister. There were songs by Squeeze and Tom Waits. There was a Dionne Warwick deep cut. The album opened with, yes, a Todd Rundgren track. It was a very “wait a second, I love these artists and songs too ” moment, and from that point on (though she didn’t know it), we were officially pop music nerd-bonded. I bought the record and was instantly impressed with her exquisite vocal performances, how she sang these majestic and melodic tunes with such reverence and passion. And maybe most thrillingly, it was unerringly cool to hear a girl so convincingly singing these songs written by boys.

To date, Santing has released 21 albums and counting (a mix of studio, live sets and compilations), and between those and her innumerable live performances, she’s covered upwards of 150 songs. She’s offered up stellar versions of tracks by everyone from ’80s pop auteurs and thinking girl faves like Scritti Politti and Aztec Camera to melodic maestros like Nilsson and Randy Newman, as well as those of evergreen legends like Joni Mitchell. It should be noted that she is especially fond of Todd Rundgren and is in league of her own as far as covering his catalog which is to say, in terms of quality Todd covers, no one on the planet does it better.

To this day I remain both awestruck and impressed by her song choices as well as just plain psyched that there’s another girl on the planet who is as infatuated with these specific artists, these one-man-band, post-pop weirdos and cult heroes with their very particular melodic sensibilities.

And now please enjoy this handful of highlights spotlighting some of the finest and coolest covers by master interpreter and unabashed pop fan Mathilde Santing.
Continue reading »

Apr 032020
 

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.

Joe Pernice

If Joe Pernice flies below the radar, it’s seemingly with a bit of pride, or blithe indifference. Consider the title of his live concert DVD: “Nobody’s Watching/Nobody’s Listening.” That didn’t come from a branding consultant.

He’s released 17 recordings over the years, but all under different monikers. The Scud Mountain Boys, Pernice Brothers, Chappaquiddick Skyline, Roger Lion, and The New Mendicants, to name a few. He’s even recorded and performed as Joe Pernice on occasion. A restless artist unconcerned with continuity, he’ll disband a band only to reform it decades later. He’s been known to ditch a completed album at the final mixing phase. And now and then Pernice falls into radio silence: during those stretches he is writing poetry, fiction, and (to pay bills) tv cop show scripts. However an artist gets on the radar in the music biz, this is not the recommended flight path.

Nothing changes the fact that Pernice is a top-notch singer and composer. When it comes to covers, his choices are inspired. They appear quirky at first, or even jokey in some cases. But then you listen, getting drawn in by Pernice’s plaintive voice. You then get stirred, you find new admiration for a song that you had condescended to or shrugged off. The song needed the Pernice treatment to get through.

See for yourself. Here’s a half-dozen choice covers from a quarter-century worth of Joe Pernice output. Add them to a playlist and name it “Somebody’s Watching/Somebody’s Listening.” Continue reading »