Butcher Brown ft. Alex Isley – Best Friend (Brandy cover)
Virginia jazz collective Butcher Brown throws it back to ’90s R&B with this cover of Brandy’s 1994 slow jam “Best Friend.” Though it’s a little out of their usual wheelhouse – for one, it has a singer, Ernie Isley’s daughter no less – they ably blend their own leanings with the retro soul-pop feel. If you like this, don’t miss their rooftop NPR Tiny Desk Concert.
Kate Clover – These Boots Are Made for Walkin’ (Nancy Sinatra cover)
“If Suicide produced a Nancy Sinatra and Lee Hazelwood song” is a hell of a tag line, and Kate Clover’s “These Boots” delivers on that premise. The menacing guitar seems pulled straight from “Frankie Teardrop,” while Clover’s vocals channel Sinatra’s swagger. Bonus points for the fun Twin Peaks-esque video.Continue reading »
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.
Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.
If you Google “perfect Smiths song,” you’ll find a lot of different titles – “The Boy with the Thorn in his Side,” “How Soon Is Now,” “I Won’t Share You,” “Half a Person,” and “There Is a Light That Never Goes Out,” just to name the results on the first page. But some opinions are bigger than others, and in lead singer Morrissey’s opinion, the perfect Smiths song – or at least, in his words, “very close indeed” – was “Please Please Please Let Me Get What I Want.” Allmusic.com calls it “a minimal yet lush two minutes of almost otherworldly beauty… Almost impenetrably sad, [it’s] a masterpiece both musically and emotionally.”
Starting life as a Johnny Marr instrumental called “The Irish Waltz,” the song became something more once Morrissey sang his lyrics of longing in a voice far gentler and quieter than his usual melodramatic croon. “Please Please Please” turned into a hymn to the art of pining and yearning, the anthem of the unrequited lover, cf. Duckie in Pretty in Pink. And it did so in a minute and fifty seconds, making it the shortest Smiths song ever. Why so short? Morrissey explained:
When we first played it to Rough Trade, they kept asking, “where’s the rest of the song?” But to me, it’s like a very brief punch in the face. Lengthening the song would, to my mind, have simply been explaining the blindingly obvious.
Follow all our Best of 2017 coverage (along with previous year-end lists) here.
Year-end lists are a time to look back. That’s something we’ve been doing a lot of this year.
See, we turned ten years old in 2017 – practically ancient in internet-blog terms – so we’ve indulged in what we feel is well-earned nostalgia. At the beginning of the year, each of our writers picked the ten most important covers in their life (see them here and here and here and here and here and here and here and here and here and here). We even listed the ten most important covers in Cover Me‘s life, from the song that inspired the site to our very first Best of the Year winner.
Then, to cap things off, in October we commissioned a 25-track tribute to the cover song itself – which you can still download for free. We love the covers everyone contributed so much, incidentally, that we didn’t consider them for this list. It’d be like picking favorite children – if you had 25 of ’em.
Oh, and have I mentioned I wrote a book? … What’s that you say? I mentioned that constantly? Well, I’m quite proud of it. It’s called Cover Me: The Stories Behind the Greatest Cover Songs of All Time and it makes a great Christmas gift and – ok, ok, I’ll stop. You can find plenty more about it elsewhere.
Suffice to say, there’s been a lot of looking back this year. And we hope you’ll indulge us this one last glance rearward before we leap into 2018. Because if it’s been a hell of a year for us, it’s certainly also been a hell of a year for the cover song in general. Some of this year’s list ranks among the best covers we’ve ever heard, period. So dig in, and thanks for your support this past decade.
Cheap Trick’s “I Want You to Want Me” has traveled a varied path, covered by Letters to Cleo, Dwight Yoakam, and Chris Isaak, to name a few notables. This stripped-down version, however, is a far cry from the many incarnations of the song – starting with the fact that it is sung by a clown.
Throughout its cover evolution, “I Want You to Want Me” has stayed decidedly upbeat, with full bands, peppy harmonies, and an overall pop feel. Consider for a moment, however, the lyrics to the song:
Feelin’ all alone without a friend
You know you feel like dyin’
Oh, didn’t I, didn’t I, didn’t I
See you cryin’
Which begs the question: why is this an upbeat pop song in the first place? It sounds more like a lover’s lament, which is exactly what Puddles Pity Party finds in his version. The tempo is slowed down to a rate where you can really let those lyrics sink into your bones. His voice oozes over the notes with a clear, affecting tone. A guitar is the sole accompaniment.Continue reading »