Nov 232020
 

Kindred Spirits Larkin PoeThis should have been a belter.

True, in places Kindred Spirits shines, and it’s everything one could have expected from this talented pair of sisters.

But?

Let’s first set the scene. Larkin Poe are Megan and Rebecca Lovell, two sisters from Tennessee, deeply ingrained with the sounds of “the South Will Rise Again,” i.e. the Allmans and all who knelt before them. Indeed, their publicity touts them as little sisters of the Allman Brothers (although the Black Keys, for me, is a better reference, sonically speaking). Kick-ass slide and sassy vocals are their calling cards, and since 2014 they have produced a run of well-received records, usually with an added rhythm section adding woomph to their twin guitars and vocals. In recent years they have seemed glued to the side of Elvis Costello, notably on his solo tours to support the autobiography, acting as his support band and accompanists. Frankly, at times, they were better than their employer.

A lighter side of their work has been the slew of YouTube recordings put up, looking all very ad-hoc, in hotel rooms, maybe whilst touring, and a delight they are.Kindred Spirits is in that style, just the the two of them.
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May 192020
 
quarantine covers
Amy Helm – Twilight (The Band cover)

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Apr 022020
 

SteveReidell_Dukejenn champion the blue album
2020 marks the 40th Anniversary of Genesis’s true breakthrough album, 1980’s Duke. It was their first album to hit #1 in the UK as well as their highest charting album in the U.S.to that point. It also featured their first top 20 single in the states, infectious unrequited love opus “Misunderstanding”. But enough of the facts, I’m about to say something controversial so all of you prog rock purists might want to look away for a second. Here goes…

I think Genesis got better once Peter Gabriel quit the band.

Significantly better.

Once detached from the confines of Gabriel’s cryptic conceptual costumed creations, the melodic impulses of the remaining band members, Mike Rutherford, Tony Banks, Phil Collins and Steve Hackett (he until 1977) were finally able to run unencumbered and free. This of course meant they could fulfill their destiny as the the glorious pop-prog hybrid behemoth gods they were always meant to be.

From the very first release after Gabriel’s departure, 1976’s A Trick of the Tail, the sonic shift was in full effect, its songs possessing both a brevity and succinctness that had only ever been hinted at on previous albums. The lyrics became more relatable, the emotions were no longer obscured by arcane imagery. Most significantly, there was a hearty head nod to pop. Over the years there’s been a bit of a disagreement between the purists who prefer the Gabriel-helmed version of the band and the pop fans who love PHIL, as to which version of the G-Men is better (in broad strokes, it sometimes breaks down as older fans vs. newer fans and, yes, men vs. women). As a member of the latter demographic, I can say that my personal disagreements with other Genesis-loving nerds have consistently, predictably unfolded in this fashion (all in good humor, though, I swear). I think the stretch of studio albums sans Gabriel, released from 1976-1983, represent Genesis at their absolute creative peak. And I just want to offer up one last factoid: Duke, one of the poppiest, most personal, never-met-a-radio-it-didn’t-like albums they ever made, is keyboardist Tony Banks’s absolute favorite Genesis album.

And so with that, meet Steve Reidell.
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Oct 152019
 
lucy dacus phil collins

While Phil Collins’s current Still Not Dead Yet tour has been a mostly a celebratory affair, it also bears a tinge of bittersweetness. A variety of physical ailments have impaired Phil’s ability to move around, requiring him to be seated for the majority of the shows. But despite these challenges, there is a particular song Phil makes a point of standing up to deliver most nights. It’s not one of the perky sing-alongs like “Sussudio” or “Invisible Touch,” but his eternally haunting, bitter and thunderous “In The Air Tonight.” Continue reading »

Oct 022019
 

Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.

Here at Cover Me Q&A, we’ll be taking questions about cover songs and giving as many different answers as we can. This will give us a chance to hold forth on covers we might not otherwise get to talk about, to give Cover Me readers a chance to learn more about individual staffers’ tastes and writing styles, and to provide an opportunity for some back-and-forth, as we’ll be taking requests (learn how to do so at feature’s end).

Today’s question, courtesy of Cover Me staffer Jordan Becker: What was the best/worst experience you have had seeing a “tribute” band?
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Jan 302018
 

mark erelli mixtapeMark Erelli seems one of the good guys: prolific in the often solitary and lonely furrow of singer-songwritery, under the radar of most observers, weaving his nuanced mix of country and folk that never fails to beguile my ears. Lord knows how he makes a living. Along with others like Jeffrey Foucoult (with whom he has collaborated) Damien Jurado and the Joshes Rouse and Ritter (another collaborator) he seems always there in the background, a reliable source of well-crafted songs, never troubling the mainstream nor stealing the show.

Although he has a healthy and extensive repertoire of his own songs, covers are very much also his stock in trade, as a visit to his website soon reveals, with a monthly free download of the month – often a cover – unavailable elsewhere. (As I write his excellent version of “Midnight Rider” is serenading me, the January freebie.) He also performs an annual series of shows entitled ‘Under the Covers’ – sadly in the wrong continent for this writer to ever catch. Continue reading »