Sep 172024
 

Given that Robyn Hitchcock hails from a day where content may not always match the label, his succinctness of title is here pitch perfect. 1967: Vacations in the Past is a set of songs, all of which came to fruition during the (first) summer of love. Hitchcock formulated the selection to bookend his memoir 1967: How I Got There and Why I Never Left. The jacket copy states, “In January 1966, Robyn Hitchcock is still a boy pining for his green Dalek sponge and his family’s comforting au pair, Teresa. By December 1967, he’s mutated into a 6 ft 2-inch rabid Bob Dylan fan, whose two ambitions in life are to get really stoned and move to Nashville.”

Along the subsequent way, he has become an individual and idiosyncratic voice, as near instantly recognizable for his quirky worldview as for his never more English vocals, despite spending much of his career, and much his success, in the US. (And yes, he subsequently lives in East Nashville, answering on of his ambitions.) Starting off with college radio favorites, the Soft Boys, and then moving forward through and into Robyn Hitchcock and the Egyptians, he now has a solo career, lasting throughout most of this century. He’s never shy of performing cover versions, especially in a live setting, complementing his own prodigious output. Why, not two weeks ago we were considering his Dylan set, Robyn Sings.

The joy of 1967 is that you don’t have to be familiar with Hitchcock’s memoir (although you might wish to be, I recommend it). It stands perfectly as a stand alone, a snapshot of what the 14 year old boy might have been daydreaming to, on the radio. And you don’t really have to have been there yourself either, the selection, by and large, tendis more toward the big hitters of the year, most of which left a long and illustrious footprint. But I bet you never heard ’em much like this!
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Sep 062024
 

Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.

Robyn Sings

[W]hen I sing other people’s songs… I’ve known them so long that they feel like they’re my songs, you know? Obviously, I don’t get the publishing for them, but I feel like they’re part of me, because they also formed the way I write songs. Those songs are like my parents or my elder brother, you know? [Laughs.] I may not possess them, but they’re certainly family. I don’t know if family is something you possess or something that possesses you. – Robyn Hitchcock

If Robyn Hitchcock sees Bob Dylan’s songs as family, then 2002’s Robyn Sings was him organizing a great family reunion. It was a two-CD collection of live Dylan covers; the second CD recreated the famed “Royal Albert Hall” concert. It’s got a bootleg sound and one clown who thinks it’s funny to yell “Judas!” after every song, but it gets the job done. The real treasure, though, is on the first disc, which is what we’ll focus on here today.

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Aug 312023
 
Amanda Palmer and The Righteous Babes — The Last Day of our Acquaintance (Sinéad O’Connor cover)


You’re going to notice a theme here. We have the usual grab-bag included below (see “Best of the Rest”), but, for our featured covers up top, it’s all Sinéad. There were so many wonderful tributes performed, often in concert and always powerful and moving. Many did “Nothing Compares 2 U,” technically a Prince cover but really a Sinéad song now and forever, but others selected from elsewhere in her catalog. Of this one, which just came out Tuesday, Amanda Palmer wrote, “This song means a great deal to me, as does the artist who penned it, along with everything she still stands for.” A portion of the money from sales will be donated to The Irish Women’s Survivor Support Network. Continue reading »

Mar 222017
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

bringing it all back home covers

Bob Dylan’s 1965 Newport Folk Festival concerts is one of the most famous – or infamous – performances of all time, subject to numerous books, documentaries, and debates over why Pete Seeger threatened to cut the power cable with an axe. But the fact is, by the time he stepped on that stage, Dylan had already gone electric, four months prior. The first half of his 1965 album Bringing It All Back Home – which turns 52 today – is all electric. And not the sort of light electric augmentation other folk singers were experimenting with either. The first track “Subterranean Homesick Blues” may still be the loudest, hardest track of Dylan’s entire career. He’d already drawn his line in the sand; the folk-music crowd had just chosen to ignore it.

To celebrate this landmark album’s 52nd birthday, we’re giving it the full-album treatment. Our recent tributes to Dylan albums have covered underrated works like 1978’s Street Legal and 1985’s Empire Burlesque, but today we return to the classics. Such classics, in fact, that in addition to our main cover picks we list some honorable-mention bonus covers for each song. Continue reading »

Mar 032017
 

They Say It’s Your Birthday celebrates an artist’s special day with other people singing his or her songs. Let others do the work for a while. Happy birthday!

robyn

There are people out there whose time in college was accompanied by a Robyn Hitchcock soundtrack. Back in the ’80s, when alternative/indie music was known as “college rock,” Hitchcock and his off-off-kilter music figured prominently. Those people who loved “Balloon Man” and “My Wife and My Dead Wife” would in all likelihood react very badly to the idea that the surrealist scamp who wrote those songs turns 64 years old today. If it’s any consolation, his songs, both solo and in collaboration with the Soft Boys and the Egyptians, remain as timeless and vital as ever.
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Jun 132014
 

In the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!

There is very little that can be considered “new” in the world of popular music — everything builds on something that came before, and influences get combined in different ways. So the idea that you can declare the inventor of a musical genre is ridiculous. Uncle Tupelo didn’t invent alt-country, a mix of country, rock and punk (check out, say, Jason and the Scorchers, the Long Ryders, Rank and File, X, or the Blasters, for example, for proof that these strains were already well mixed when Uncle Tupelo emerged). But it cannot be denied that Uncle Tupelo’s debut album No Depression, which gave its name to the influential message board and magazine that spearheaded the movement, helped to kickstart the genre’s popularity and became one of its cornerstones.

And it all started with a bunch of high school kids.
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