Jan 262026
 

Were he still alive, Warren Zevon would be on a roll, scarcely able to believe the belated acclaim coming his way. Of course, plaudits came his way in life, but Zevon was the epitome of a cult artist, beloved more by critics and other musicians than necessarily a buying public. It’s fair to say his songs tended more to niche listeners, with a taste for the left field. That sure describes a lot of us here at Cover Me, and we have endeavored to keep his flame alight, in our own small way.

“Mr. Zevon had a pulp-fiction imagination,” said the New York Times, and they weren’t wrong. If his most celebrated song was about werewolves, that was not unique, as other songs were to celebrate, if that is the right word, child serial killers and headless mercenaries. With a penchant for the dark side, Zevon was unafraid to tackle the most unusual of inspirations, while at the same time being able to pen some of the tenderest and gentlest of love songs. Truly a paradox.

Now here is Keep Me In Your Heart, a double album containing a wide selection of his songs, covered by a large cast of peers and acolytes. Curated by Long Island record label Paradiddle Records, this set is populated more by jobbing musicians on that local circuit, rather than the bigger names that gathered for a tribute concert in L.A. last fall, or indeed, the ones on his earlier tribute album, 2004’s Enjoy Every Sandwich. As such there is allowed a greater scrutiny of the song and the performance, over any recognition of already established voices and styles. Having said, there are a few higher profiles present also, a memento of how well appreciated was Zevon as a writer, by his colleagues and contemporaries.
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Sep 282018
 

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

I’ve been watching early episodes of Saturday Night Live recently. On the fifth episode ever – back when it bore the shorter title Saturday Night – the host was comedian Robert Klein. Two musical guests joined him: Loudon Wainwright III and ABBA.

Wainwright’s performance plays it straight, just him and his guitar on stage. With ABBA, though, the show undermines the Swedish quartet from the start. They have to perform “S.O.S.” on a sinking Titanic set, competing for screen time with Klein and some SNL writers pretending to drown in vintage dining-lounge attire. Even when the camera lands on ABBA, it waves and swoops to indicate they’re going down with the ship too.

The second performance, “Waterloo,” does them even dirtier. Before the first verse even ends, these words pop up on the screen: “Right now ABBA is lip-syncing. It’s not their fault. The tracks didn’t arrive from Sweden.” The band appears to have no idea they are being thus undermined, even as the audience titters. I’ve watched the entire first season now, and haven’t seen any other musical performer treated this way. (The individual videos sadly aren’t anywhere embeddable, but the full episode is on Hulu).

This SNL appearance neatly embodies the ABBA dichotomy. On the one hand, they were such huge stars that the show simply had to book them. On the other, they seemed so irredeemably uncool that the show felt obliged to mock them so it didn’t lose its cultural cachet. And forty-plus years on from that performance, we treat them the same way. We’ll sing and dance along to their songs – particularly after a drink or two – but only the most ardent poptimist would put ABBA anywhere but the “guilty pleasure” category.

True, the productions may be dated, and the outfits ridiculous, but at their core the songs are rock-solid. Songwriters Benny Andersson and Björn Ulvaeus, sometimes aided by band manager Stig Anderson, penned songs that still rise above the cheese-tacular performances. And there’s no better evidence than in the thousands of genre-spanning covers. Everyone from Richard Thompson to Portishead has covered these songs – and not with a wink and a nudge either, but honestly finding timeless lyrics and melodies beneath ABBA’s very of-its-time presentation.

Cher did it too, releasing her ABBA tribute album today to piggyback on the second Mamma Mia! movie’s success (commercial success, that is, as the reviews were not kind – a true ABBA divide, there). So in honor of that, we decided to pick out the best ABBA covers ever. No, none of Cher’s make the list. But thirty other artists do.
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Dec 162011
 

When people look back in 2011 in music a decade from now, one name will come to mind: Adele. In our little world of cover songs, she dominated. Everyone covered Adele this year. It’s not just that we saw more covers of “Rolling in the Deep” than any other song; they beat out second place (probably “Pumped Up Kicks”) by like a factor of five! We generally try to look for larger cover trends in these annual wrap-ups, but it’s hard to remember anything else from this year except the year-long onslaught of Adele covers hitting our mailbox.

There’s only one “Rolling in the Deep” cover in this year’s list though. The rest are all over the place. Some of the artists listed built their covers with lush soundscapes, thick beats, and intricate string work. Others just took guitars or pianos and bowled us over with the emotion in their voices. There may not be much of an overarching “Year in Covers” narrative, but that means there’s a cover or two for everyone. From feel-good takes on rap songs to kill-yourself versions of pop songs, this year’s list features flips, flops, and genre switcheroos of all sorts. A good cover should be informed by the source material but stand on its own, and we’ll be unrolling the 50 finest examples of songs doing just that all week. Start with #50-41 on the next page and check back daily as we count down to the best cover of 2011.

Feb 172011
 

If you slept on Revolver last year, it’s time to wake up (#whoisarcadefire). Their breathtaking Music for a While showcased the Parisian trio’s strong melodic instincts and the cover we watched them sing last August delivered their strongest harmonies to date. Well, today’s premiere combines both strengths. It’s an ABBA song presented in an unassuming vocal arrangement. Continue reading »

Aug 272010
 

This past Tuesday, French trio Revolver’s Music for a While dropped stateside. To promote the release, the band released a video of them singing the Mills Brothers’ 1930s jazz standard “Nevertheless (I’m in Love With You).” Calling it pretty doesn’t do it justice; calling it utterly gorgeous merely states the obvious.

You may never have heard of Revolver. You may never have heard of the Mills Brothers either. Doesn’t matter. You’ve just got to hear this. Recorded in a warehouse, the group’s tricky harmonies require nothing more than a quietly strummed guitar to soar. (via Filter) Continue reading »