Despite the name, Nashville trio Country Westerns aren’t pure old-school C&W. They work a heavy dose garage-rock grit in with their country, as seen on their new cover of Richard and Linda Thompson’s “Wall of Death.” Produced by recent Bonnie “Prince” Billy collaborator Matt Sweeney, the cover helms their new mostly-covers EP Country Westerns, released last week on Fat Possum.
Bob Dylan has never exactly been a loquacious interviewee. From the ’60s, when he would spend interviews mocking the press, to the ’10s, where he rarely bothers giving interviews at all, comments from Bob on any given subject are usually relatively few and far between. But I was curious, as we prepare to launch our 100 Best Bob Dylan Covers Ever list on Monday, what Dylan covers has the man himself remarked upon?
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
Singer/songwriter and multi-instrumentalist Judy Dyble occupies a unique place in music history. Dyble, who passed away in July at the age of 71, played a role in the origin stories of two long-running British musical institutions. She was a founding member of the folk-rock outfit Fairport Convention, and she sang with a band called Giles, Giles and Fripp; they would go on to morph into the legendary prog-rock group King Crimson.
Dyble’s music career spanned five decades. Whether it’s on her early recordings from the ‘60s or her albums from the 2010s, the quiet power of her voice resonates like a haunting echo from the past, carrying nearly every song she sang. Throughout her life and career, she performed many excellent cover songs, proving herself as a powerful interpreter of other artists’ music.
‘The Best Ever’ series counts down our favorite covers of great artists.
Last year, Rob Sheffield called 1999 “the year music exploded, the year when nothing made any damn sense, the year fans had to throw out any old-school rules for how pop worked.” If that’s true, then 2000 was the year when those new trends became the accepted norm. Back in January, we looked at covers of one of the year’s defining phenomenons – boy bands – and this month was tackle another: Britney, a pop supernova so massive she didn’t need a last name.
Her sophomore album Oops!… I Did It Again came out 20 years ago today, setting the record for the highest debut-week album sales by a female artist (it held for 15 years, until Adele’s 25). Though Spears was primarily a singles artist, her albums sold so much that even the deep cuts wormed their way into millions of teenage brains. When we compiled this list, I was pleasantly surprised it wasn’t just the half-dozen biggest hits being covered. Those songs got covered plenty, and still do (our number-four best cover of 2019 was a “Baby One More Time” – not a bad lifespan for a song written by a Swede whose grasp of English was a little rough), but musicians also dig into the album tracks and the singles that flopped.
Spears has shifted into the Vegas-residency stage of her career in recent years (not to mention Instagram star and cause-celebre hashtag). But even if she doesn’t have any more world-conquering hits in her, other artists are keeping her songs alive. Of the thousands of covers out there, here are the 25 best.
The list begins on Page 2.
Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.
Here at Cover Me Q&A, we’ll be taking questions about cover songs and giving as many different answers as we can. This will give us a chance to hold forth on covers we might not otherwise get to talk about, to give Cover Me readers a chance to learn more about individual staffers’ tastes and writing styles, and to provide an opportunity for some back-and-forth, as we’ll be taking requests (learn how to do so at feature’s end).
Today’s question, from staffer Jordan Becker: What’s a great cover of a cover?
Mose Allison is possibly best known these days through his association with Van Morrison, who released Tell Me Something: The Songs of Mose Allison in 1996. Morrison probably gave Allison’s career a late boost, presenting him as a somewhat kindred spirit, albeit having a few more years on him, and hopefully a more benign presence than Van the Man, if even harder to classify.
I had always filed Allison under jazz, though blues was probably closer to his idiom, yet here we have If You’re Going to the City: A Tribute to Mose Allison, which sees him being covered by a slew of largely rock music gentry from the past few decades. Listening to this selection, it becomes easier to see that blues is at least the template to Allison’s songs. Not necessarily a version familiar to the backstreet bars of Chicago, this is a more polished version of the blues, with echoes of both supper club and Tin Pan Alley – though in Allison’s hands and voice, they sound perhaps a shade less archaic. These are fine songs and, if these covers succeed in pointing attention back to the originals, then at least part of the work of this collection has been done.