On every full moon this year, Peter Gabriel has been releasing new songs off his upcoming album o\i. It’s the same system he pulled a few years ago, previewing tracks from his 2023 album i/o (you see what he did there?), and once again with each song in two versions, the so-called Dark-Side and Bright-Side mixes. As ever, Peter Gabriel moves to his own rhythm. “The rhythm has my soul,” he famously screamed in 1982.
For such an idiosyncratic artist, though, he has a way with a pop hook—which has made his songs so widely covered in so many styles and genres. Below, we count down 40 of the best. These mostly come from his solo career—as you’d expect, his blockbuster 1986 album So looms large—but there are a few of his Genesis tunes mixed in too.
For UK-based fans of Musical Theatre, the BBC’s “Elaine Paige on Sunday” (of course, also available on streaming anytime) is a joy. It’s filled with the best-known songs from hit shows, less celebrated tracks from those shows, songs from shows that have not yet reached the West End, songs that reached it but sank without trace and will not be revived, and songs from shows that may be revived one day.
As a celebrated interpreter of Stephen Sondheim, Paige knows a bit about lost shows that get revived into huge hits. As an originator of key roles in musicals such as Cats and Evita, she knows what a hit show looks and feels like. And, like everyone who has worked in the theatre for nearly 60 years, she has participated in shows which died quickly, for whatever reason, but which may have contained great material.
These days her reputation could still fill theatres and concert halls, but she feels that her 78-year-old voice could not physically fill them and do justice to the work–and for her, the work is the Primary driver. However, she can still do cabaret work, and she is operating in that territory with her new album, Miscellaneous Paige. The selections have a theme of time passing, which may be a focus for someone at Paige’s time of life. Continue reading »
Omnivore Recordings has re-released the 1997 Lowell George tribute album, Rock and Roll Doctor: Lowell George Tribute Album. The record includes covers by folks like Taj Mahal, Bonnie Raitt, Chris Hillman and Randy Newman. But the re-issue also features a new track, “Willin’,” which features Willie Nelson, Emmylou Harris and Lowell George’s daughter, Inara George. The track is a beautiful take, with the weary voices of Nelson and George combined with the beauty of Harris’ to make something really special.Continue reading »
Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
To celebrate the entry of Joe Cocker into the Rock’n’Roll Hall Of Fame, possibly the only way to celebrate this sometimes consummate interpreter of song, is to drill down into one of his many albums. Organic was a bit different, even by his standards; as well as a selection of songs new to him, producer Don Was got him to revisit some of his earlier covers. Quite a risk, as the now 52-year-old singer was widely seen, by then, as merely functional, going through the motions with a gruff bluster and a camouflage of backing singers.
Rewind to 1969. Arms flailing and eyes tight shut, the sight of the ex-gas fitter as he transformed “With a Little Help From My Friends” from skip-over track, into a searing ceremony of the soul; it was an astonishing moment. It had already captured the hearts of listeners at home, a number one UK single in 1968. But, played out on stage to thousands at Woodstock, the film then made sure it was then seen by millions worldwide. Suddenly he was a star, seemingly from nowhere.
For a while he could do no wrong. Blessed by a crack team of London’s best session men, his first two albums are a remarkable salvo of intent, matching his sublime vocals, Ray Charles with a little more frailty, with some of the best playing of the day. He even wrote a bit back then, but it soon became far more apparent that his strength lay more in what he could bring to the songs of others. On the back of these albums, and buoyed by Woodstock, he hurtled next into the Leon Russell helmed Mad Dogs & Englishmen circus, a carnival of excesses that went on a 48-date tour. Cocker, already exhausted by his earlier whirlwind ascent to fame, self-medicated his way around America on pills and booze, became a wreck by the end of it.
That could have been that, and nearly was; he needed two years away from music to even begin to recover. However, good friend Chris Stainton lured him back to the limelight. The return to the treadmill, and all its attendant vices, nearly and should have killed him. So much so that, when Michael Lang agreed to become his manager, in 1976, this was only on the condition of his sobriety, a condition which, against both odds or expectation, he came to fulfill.
From that time, and almost up to the time of his death, his workload remained formidable. Dipping between styles, he would follow up an album with the Crusaders, heavy with horns, with a bevy of soundtrack anthems, to wave lighters in the sky to. Quality varied and it was hard to know quite to whom he was aiming his appeal. But, by and large, his bread and butter was in the melodic songs of the ’60s, songs by Dylan and the Beatles, who suited his soulful timbre. Retaining healthy audience numbers, they were forgiving his fraying range, right up until he died, aged 75.
So, back to Organic. Don Was, the maverick musician, record producer, music director, film composer and documentary filmmaker, had already shown a Midas touch with his ability to revitalise flagging careers and/or add new pep to those then needing a lift. Iggy Pop, Bonnie Raitt, Brian Wilson and the Rolling Stones can all owe a degree of debt to the bassist from Detroit, they all ahead of Cocker, with many more after. His idea was to revisit some of Cocker’s greatest moments, tacking on a few new songs to cover in addition. A veritable who’s who came out to add their instruments to the album, headed by the ever faithful Stanton, also including Billy Preston, Jim Keltner, Darryl Jones, and Greg Leisz, with even cameos from Randy Newman and Dean Parks. Additional, let’s say, buffering vocals came from the likes of Merry Clayton.
Sadly, at the time, the album did not fare well, and failed, at least in the U.S., to chart. Nonetheless, worldwide sales eventually exceeded the million mark, as it went gold in several European territories. I think it has needed the sands of time to sift over it, ahead of this belated decontextualisation of its worth. Ready? Continue reading »
There’s a new album by Jon Batiste, the Oscar-winning former band leader for “Late Night with Stephen Colbert” due August 22nd called Big Money and it includes a collaboration with Randy Newman on a classic song.Continue reading »
Many artists have stepped up in the past few months to help raise money for the people affected by the LA wildfires. This past Sunday was yet another, gathering up performers to help support the community. This concert, dubbed “Let’s Get L.Aid,” was subtitled “a night of comedy and music.” Headliner “Weird” Al Yankovic, whose work covers both of those descriptions, wrapped up the show with a special performance of Tom Petty‘s “Free Fallin'”. (Petty was a long-time Los Angeles resident.) Yankovic brought out Puddles Pity Party and Tim Hedecker to join in the song. Continue reading »
For UK-based fans of Musical Theatre, the BBC’s “Elaine Paige on Sunday” (of course, also available on streaming anytime) is a joy. It’s filled with the best-known songs from hit shows, less celebrated tracks from those shows, songs from shows that have not yet reached the West End, songs that reached it but sank without trace and will not be revived, and songs from shows that may be revived one day.
To celebrate the entry of Joe Cocker into the Rock’n’Roll Hall Of Fame, possibly the only way to celebrate this sometimes consummate interpreter of song, is to drill down into one of his many albums. Organic was a bit different, even by his standards; as well as a selection of songs new to him, producer Don Was got him to revisit some of his earlier covers. Quite a risk, as the now 52-year-old singer was widely seen, by then, as merely functional, going through the motions with a gruff bluster and a camouflage of backing singers.
