Jun 062011
 

Duncan Sheik had one of the 1990s’ more enduring songs in “Barely Breathing,” which hung around the Billboard Top 100 charts for a full year. As they say in (what used to be) the radio business, it tested well. Six additional albums have followed, but Sheik has spent much of the past five years composing scores for Broadway productions and winning both Tony and Grammy awards in the process. Long before he was halfway to an EGOT, though, Sheik spent his teenage years in the 1980s. On Covers 80s he reflects the influence that a wide range of synthpop bands and tracks had on his formative years.

This is no John Hughes soundtrack compilation and if you’re looking for a “Walking On Sunshine” feel-good nostalgia trip, you’ll likely be disappointed. While a few big hits are represented, Sheik offers a deeper and somewhat darker journey back into his past. Although he grew up in New Jersey, Sheik does not include any American bands on Covers 80’s. He says that the litmus test for inclusion was “did I really, really care about it when I was 15 or 16?” Apparently what Sheik really, really cared about back then was the electronic, indie and New Romantic pop of the second British Invasion and Covers 80s benefits greatly from Sheik’s choice of source material. Continue reading »

May 062011
 

In the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!

Counting Crows have a tough gig. They are lumped in with mainstream music, earning them disdain from the hipster crowd, yet they haven’t had a Billboard hit since 2004. Lots of folks like them (they have 200,000 more “likes” on Facebook than our last In the Spotlight artist, LCD Soundsystem) but it seems hard to find many people listing the Crows as one of their all-time favorites – or at least admitting to it. Continue reading »

Apr 292011
 

If you’re like us, your first reaction to this “Pretty in Pink” cover might be, How is this a cover?? It’s almost unrecognizable. Almost. For the first listen or two, you might need to take San Francisco composer Emmalee Crane at her word that this is what she says it is. Then you start to hear it, little snatches of melody burbling up from the Psychedelic Furs original midst all the hypnotizing sound swirls. Continue reading »