On her new single, country single Kelsey Waldon is making known her support of social justice with a cover of Nina Simone’s “Mississippi Goddamn,” a song with its roots in the civil rights movement. She performs “Mississippi Goddamn” alongside gothic blues singer Adia Victoria and R&B folk singer Kyshona Armstrong. This cover previews her upcoming EP They’ll Never Keep Us Down, which is entirely covers circling themes of social justice.
Amigo the Devil – Before He Cheats (Carrie Underwood cover)
When we last heard Amigo the Devil, he was stripping down a Tom Jones song to create a haunting murder ballad. Now he does the same to another highly polished pop song – but a much more recent one. “[The original is] this very confidence-boosting, really good-feeling, power-infusing song,” Amigo’s Danny Kiranos told Rolling Stone. “I was curious what it would sound like if you took away the positive nature of it and kept the lyrics, essentially the emotions they are portraying.”
Dozens (hundreds?) of young artists fell for the 2015 song of the year, Sam Smith’s “Stay with Me,” and posted their own version of the hit on social media. But only one of them found herself taking a call from Prince, who saw enough talent and originality in her post to want to hear more. That was just one early “lift-off” moment in the career of singer, song-writer, pianist, and Blue Note recording artist Kandace Springs.
The calls to collaborate kept coming, from artists in diverse genres, locations, and generations: Ghostface Killah, Daryl Hall, Black Violin, and David Sanborn in the U.S., Aqualung and Metropole Orkest in Europe. (We highlighted her Metropole Orkest hook-up in our Charles Mingus celebration back in April.) Springs’ vocal stylings are varied enough, and her roots are deep enough, to deal with all of it: her work reveals clear hip-hop, soul, and R&B influences, but classical music and straight-ahead jazz are her true loves. Her life-long hometown of Nashville may be synonymous with country music, but that’s one form Springs hasn’t taken on. Yet.
‘The Best Covers Ever’ series counts down our favorite covers of great artists.
Last week, Donald Trump gave his headlining speech at the Republican National Convention. Right after, fireworks exploded over the Washington Monument, soundtracked by a cover of “Hallelujah.” A few minutes later, a second singer covered “Hallelujah” while the entire Trump family watched. Both covers were unauthorized, and Leonard Cohen’s estate quickly said they are exploring legal action. (It must also be said that the covers weren’t very good – you won’t find either one on this list.)
Though hardly a shining moment in the history of Cohen covers, this event speaks to the cultural ubiquity of his work, and of “Hallelujah” in particular. For an artist who never sold that many records, Cohen has become about as iconic as icons get. Humble to the end, he would no doubt object – politely, of course – to that statement. But it’s true. His songs transcend his albums, they transcend his performances, they even transcend Leonard Cohen himself.
There’s never a bad time to talk about Leonard Cohen covers, but they’ve really been on my mind the past couple years. Why? Because I’ve been writing an entire book on the subject, which is out today. It’s in the 33 1/3 series of small books on specific albums. The album I selected? The 1991 tribute album I’m Your Fan: The Songs of Leonard Cohen. Without it, you probably wouldn’t even know “Hallelujah”… but we’ll get to that later.
In the book, I explore not just that one tribute album, but the entire history of Leonard Cohen covers generally. It’s a long and fascinating story, but suffice to say here that Cohen wouldn’t have had anywhere near the reach he did without others covering his songs. Covers gave him his start – Judy Collins’s, in particular – and resurrected his career more than once.
There are far too many great Cohen covers to fit in a list like this (and our Patreon supporters will soon get a bonus list of 100 more of them). But we all dug deep to pull the highlights, both the best of the totemic covers as well as brilliant but lesser-known interpretations. The covers span his entire catalog too. Plenty of “Hallelujah”s, of course, and versions of the ’60s songs that made him famous, but also covers of deeper cuts from albums throughout his recording career, up to and including his very last. We hope you’ll discover some new favorites, and maybe be able to listen to the classics you already know in a fresh light.
– Ray Padgett, Editor-in-Chief
The list begins on Page 2.
Alex Kapranos & Clara Luciani – Summer Wine (Lee Hazlewood & Nancy Sinatra cover)
Clara Luciani is Nancy Sinatra and Franz Ferdinand frontman Alex Kapranos is Lee Hazlewood on this charming cover. Kapranos wrote, “When the lockdown started, we decided to record [‘Summer Wine’] — more for ourselves than anything else. We wanted to create the atmosphere of an imaginary world away from the confinement we were experiencing. Not that we were unhappy, but the imagination is the greatest medium for escape and adventure… After the lockdown eased off, we got together to film the video with our friends Adrien, Leo, Fiona and Hugo. I love the ideas they had, which suit the mood of the song and reflect our… well, our love of karaoke!”
It is hard to believe Bettye LaVette is 74… actually, scratch that: it is only too easy, what with her raggedly powerful voice etched deep with the experience of hard knocks. In what she laughingly now calls her 5th career, the fact she is here at all demonstrates the quiet determination and self belief that has seen her drag herself up onto her uppers, clawing her way into the limelight some decades after she was carelessly and callously dumped by the industry she had dedicated her life to. And still does, as her new album Blackbirds demonstrates.
Like many, I first heard of her in the noughties, on the background of a disc of shelved recordings making its way to Gilles Petard, a French soul music aficionado who re-released those 1973 tapes, Child of the Seventies, as Souvenirs a full 23 years later. Avid ears liked what they heard and she was off. Many of those ears to appreciate that LaVette had had her first hit single in 1963, and was a running mate alongside all the soul greats–Aretha, Otis, Marvin–if less willing to play the party line, preferring her own counsel.
Since then, LaVette has produced a regular stream of releases. Not a major songwriter, she has always styled her work as re-interpretation, specializing in the rock and pop acts of the ’60s through ’80s, rather than the Motown and Stax staples you might expect of her. The term cover version is arguably insulting of her talent; she refuses to simply echo the originals, blitzing both Laurel Canyon hippiesque and British Invasion bombast into a raw R’n’B screw-you. Her last album, 2018’s Things Have Changed, consisted entirely of Bob Dylan covers. She has scooped up awards and kept active to the astonishment of many of her initial peers: her 2012 book, A Woman Like Me, is a roller coaster read, outlining her unchanged approach to life then and now. Your mother would probably not like her.
Her new release Blackbirds is slightly different, taking a wider perspective and is to celebrate the songs of, largely, her peers, black women singers with something to say and who made damn sure they did. (Black birds, yes?) So she covers the likes of Nina Simone, Dinah Washington, and Leonard Cohen’s longtime writing partner and backing singer, Sharon Robinson. Tipping a more overtly jazz and blues hat than her usual rock’n’soul style, there is also a timely take on Billie Holiday’s chilling “Strange Fruit.” Plus a slightly surprising closing track. Backed by a slick quartet, led by album producer Steve Jordan on drums, the overall feel is of a single set piece, the backing as tight as LaVette’s voice is loosely compelling.