Oct 272023
 

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

Velvet Underground and Nico

On October 27, 2013, ten years ago today, Lou Reed died. I happened to be in New York City at the time, and his passing was a lead story on the 11 o’clock news. It was as though a part of the city itself had died. Which, inescapably, it had. Reed embodied NYC, from its seedy back rooms to its secret heart, in a way few other people, let alone musicians, ever did.

While Reed’s solo career is highly and deservingly accoladed, it still got overshadowed by the Velvet Underground. Reed’s first band featured Welsh musician John Cale, guitarist Sterling Morrison, and drummer Maureen Tucker, with Nico singing on the first album and Doug Yule replacing Cale in 1968. The band’s four studio albums started ripples that turned into tsunamis; they went from secret-handshake status to Hall of Fame giants, their influence right up there with the Beatles.

We’re honoring Lou and Company with this collection of covers. Some covers couldn’t hold a candle to the original (you’ll find no “Heroin” here), but many of the originals were receptive to another artist’s distinctive stamp. Whether you prefer the first or what followed, you’ll hear the sound of immortality as it opens yet another path of discovery.

–Patrick Robbins, Features Editor

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Feb 222017
 
Peregrino

Today, the old bluegrass song “O’Death” is probably best known for the Ralph Stanley a cappella version prominently featured in O Brother, Where Art Thou? (Stanley even sang it at the Oscars that year). But the song goes back a century or more, first recorded by Dock Boggs in 1920. That is where Mexico City rock band Peregrino first heard it, and they include a fantastic cover on their debut EP A Younger Man’s Game.

“That version, for me, is just as haunting as the Ralph Stanley version, if not more so,” singer Jairus McDonald says. “I messed around with it for a while on banjo trying to learn his version, but then I decided to make it a little bit more rock/pop-friendly in terms of structure while still maintaining the folk style. Lyrically there are quite a few verses depending on the version, but I cut it down to a simple back-and-forth with one more line from Death to sort of signify the narrator losing. I left a couple Boggs pronunciations in there as a cheeky little tip of the hat to him.” Continue reading »