Oct 162024
 

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

Crazy Train covers

It’s hard to remember where 1980 Ozzy Osbourne was (even if you’re not Ozzy Osbourne). When he released his first solo album, Blizzard of Ozz, expectations could not have been much lower. His last few albums with Black Sabbath saw him flabby and uninspired, vocally and otherwise. He was drinking and drugging at a literally unbelievable rate (the discovery that he’s a genetic mutant was still years away), and Black Sabbath had just cause to fire him. But he still knew how to put together a band. And when he found a five-foot-seven, 105-pound genius of a guitarist in Randy Rhoads, he assured that his own star would shine for a few decades more.

“Crazy Train” features not one but two hall of fame riffs from Rhoads, and Osbourne singing lyrics that could have made him sound like a hippie in another context (“Maybe it’s not too late / To learn how to love and forget how to hate”). But ohhhhh, that context! Bob Daisley, who played bass and claims lyrical credit, said, “As a child, I remember the feeling of fear. I knew Ozzy would like that [concept] because he felt like that, too, having been through it himself. He was kind of frightened about the threat of World War III and how we, as young people, had inherited these troubles, influenced by the threat of nuclear holocaust throughout our lives.” Years later, Ozzy would elaborate: “To me the ultimate sin is nuclear weapons. This is the ultimate sin. I don’t know about Ozzy Osbourne being crazy. Don’t you think these lunatics are crazier, building these bombs to blow us all [up]?”
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Feb 082022
 
steve stevens flamenco cover crazy train

There have been a lot of novelty covers of Ozzy Osbourne‘s “Crazy Train” over the years, most notably Pat Boone’s infamous cover which became the inspiration for the theme of Ozzy’s reality show, The Osbournes. However, most novelty covers of the song are not instrumentals. And a song like “Crazy Train,” with its famous main riff, is a great target for an instrumental cover. Continue reading »

Jul 292020
 

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

bee gees covers

Despite the fact that Barry, Robin, and Maurice Gibb have sold upwards of 120 million records, they can sometimes seem oddly underrated. They aren’t regarded with the reverence afforded to other artists that emerged during roughly the same era, like The Rolling Stones or The Who. They haven’t generated the same level of dramatic intrigue as Elton John or Queen. And discovering their music was never part of some traditional teenage rite of passage like Pink Floyd or Led Zeppelin. But while they don’t seem to receive near the same level of acclaim as the aforementioned artists, their music has remained as utterly ubiquitous as just about all of them. There are few other artists as essential to documenting the sound of an era as The Bee Gees were to the late ’70s.

Throw the Here At Last…Bee Gees… Live album from 1977 on the turntable or queue up the stream. You will be confronted with a veritable assembly line of perfectly constructed, exquisitely performed pop songs. Take a step back and really listen. The outlandish songwriting gift on display is nothing short of mind-blowing, You might think, how is it even possible to have written this many incredible songs? And those are just 20 or so selected tracks Barry, Robin, and Maurice had done up to that point – before Saturday Night Fever! There were dozens more to come.

We were overwhelmed by the number of incredible covers of both Bee Gees classics and deep cuts and their glorious diversity. But we really shouldn’t have been surprised. Despite the band itself not always getting its due, the Bee Gees’ songs remain for everyone and forever.

Hope Silverman

The list begins on Page 2.

May 182020
 

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.

Alex Skolnick routinely straddles the line between two different musical universes. He is known to legions of metalheads as the lead guitarist for the thrash band Testament. Yet, for nearly two decades, he has had a side hustle as a jazz guitarist for the Alex Skolnick Trio, playing an eclectic blend of fusion jazz.

He credits this genre-fluid existence to a moment in the late ‘80s when he was in Ithaca, NY recording Testament’s sophomore album The New Order. According to his memoir, he and a bandmate were flipping through the channels in a hotel when he came across a PBS concert film featuring Miles Davis performing with one of his electric fusion bands. (Given the date and Skolnick’s description it was likely Miles Davis – That’s What Happened: Live in Germany 1987.) “I had to find out more about this music. It had spoken to me, in an almost mysterious way, as though it were reaching out and calling for me to come closer. … I’d soon own more Miles Davis albums than any other artist (even Kiss),” he wrote.

Already an accomplished guitarist, having studied under the legendary instructor Joe Satriani (whose former students include Kirk Hammett and Steve Vai), Skolnick wanted to expand his horizons beyond metal. So, when the recording sessions ended, he tapped several music instructors at his hometown college, the University of California, Berkeley, to help him expand his skills.

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May 062020
 
quarantine covers
Alt-J, Grouplove, more – Shelter from the Storm (Bob Dylan cover)

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Jul 162019
 

In Defense takes a second look at a much maligned cover artist or album and asks, “Was it really as bad as all that?”

Pat Boone

Reasons abound for maligning Pat Boone’s career in popular music. The catalyst for his career was a string of covers of R&B tunes by black artists for whom the legacy of segregation never afforded the same amount of wealth. White artists made substantially more than their counterpart artists of color. Major record labels had larger distribution chains, promotional budgets, and stronger connections to radio and television networks to advantage their artists. By contrast, black musicians on “race records” benefited from none of these privileges. While artists like Little Richard, Big Joe Turner, and Fats Domino have enjoyed staying power and wide acclaim for being architects of rock music, in the early decades of that genre, white covers were commercially more successful. Added to this was the exploitative nature of covers on larger labels that made more money than the originals while paying out no royalties to the black originators. Boone was unapologetic that his career benefited from this exploitation.

It is also noteworthy that Boone’s performance and lyricism of some of rock’s first generation of are a case study in the sanitized tastes of the burgeoning white middle class in the 1950s. His smooth vocal delivery was reminiscent of crooners rather than the raspy, full-throated yowl of Little Richard. And the lyrical changes on “Tutti Frutti” were a nod to teenage infatuation stripped of any of the sexuality in Little Richard’s original.

Despite Boone representing the residuals of white privilege while Jim Crow reigned supreme, there is a note of appreciation to be made for Boone and contemporaries Elvis Presley and Bill Haley in helping to extend the reach of rock music to new audiences at a critical juncture in that genre’s history.
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