There are several reasons why Come On up To The House: Women Sing Waits had to be more than good, not least the fact this is scarcely the first such project. Waits cover albums by individual female artists – Holly Cole and Scarlett Johansson, just as a couple f’rinstances – are already lining up in judgement and for comparison. Then there are the myriad individual covers songs scattered across the repertoire of innumerable women of note. Why, I can find ten quality female-sung versions of “The Heart of Saturday Night” at the drop of a pork pie hat.
So why should this be so? What’s the draw here? Firstly must be the innate quality of the songs, somehow inhabiting a timeless era unsullied by the insistent imprints of any one style or structure. Secondly – and I tread carefully here – Waits’ voice and arrangements aren’t overly, shall we say, to all tastes, the combination of corncrake and clatter sometimes masking the delicate beauty in some of his work, especially the later years. The female voice will often draw this closer into focus than ol’ ‘Frank’ at his wildest, silk purses from, well, you know. Finally, it is now so very long since any new, it seems timely to have a reminder of him. And maybe a prompt for his muse?Continue reading »
Out November 22 on Dualtone, the album features 12 artists across generations covering Tom Waits hits and deep cuts. Personally, I’m excited to hear Phoebe Bridgers tackle “Georgia Lee” and Kat Edmonson do “You Can Never Hold Back Spring” – two songs that don’t get covered often enough. But the hits are there too: “Jersey Girl” (Corinne Bailey Rae), “Ol’ 55” (Shelby Lynne & Allison Moorer), “Hold On” (Aimee Mann), and of course “Downtown Train” (Courtney Marie Andrews).Continue reading »
Nirvana released its first single 30 years ago today. Well, today-ish. That single was the first installment in the now-legendary Sub Pop Singles Club, so I imagine its “release date” was whatever day it landed in the mailbox for the 1,000 lucky people who got it (you can get it too, but you’ll have to drop $3,300 on Discogs).
And what was that very first Nirvana single? Whaddya know, it was a cover! The band launched their recording careers with “Love Buzz,” originally by Dutch psychedelic-rockers Shocking Blue. Not the most obvious start for the most iconic band of the ’90s (apparently it was Krist’s idea). Already a staple of their raucous live show, “Love Buzz” did represent, according to Sub Pop founder Bruce Pavitt, “an indicator of some of their direction in songwriting.”
Three decades on, that songwriting has generated a few covers of its own. “Smells Like Teen Spirit” has of course been covered thousands of times, but some other Nirvana songs aren’t as far behind as you might think. “Lithium,” “Come As You Are,” and “In Bloom” remain perennial cover selections, and “Territorial Pissings” seems surprisingly popular. (“Rape Me,” not so much.) Heck, half the artists we hear covering David Bowie’s “The Man Who Sold the World” or Leadbelly’s “In the Pines” seem to really be covering Nirvana’s MTV Unplugged versions.
So today, we continue our Best Covers Ever series by whittling down the moshing masses of Nirvana covers to the best thirty. Here we are now. Entertain us!
Honorable Mention: Nirvana – Lithium
No, not that Nirvana. The 1960s British band of the same name covered “Lithium” when they reunited in the 1990s. A cute nod, made less cute when you realize this older group had sued over the grunge band’s use of the name only a few years prior (Sub Pop reportedly had to pay them $100,000). At any rate, this Nirvana’s cover is not that good, but this psych-pop spin on “Lithium” perhaps paved the way for a much better version in the same vein a few years later. But we’ll get there…Continue reading »
Follow all our Best of 2017 coverage (along with previous year-end lists) here.
Year-end lists are a time to look back. That’s something we’ve been doing a lot of this year.
See, we turned ten years old in 2017 – practically ancient in internet-blog terms – so we’ve indulged in what we feel is well-earned nostalgia. At the beginning of the year, each of our writers picked the ten most important covers in their life (see them here and here and here and here and here and here and here and here and here and here). We even listed the ten most important covers in Cover Me‘s life, from the song that inspired the site to our very first Best of the Year winner.
Then, to cap things off, in October we commissioned a 25-track tribute to the cover song itself – which you can still download for free. We love the covers everyone contributed so much, incidentally, that we didn’t consider them for this list. It’d be like picking favorite children – if you had 25 of ’em.
Oh, and have I mentioned I wrote a book? … What’s that you say? I mentioned that constantly? Well, I’m quite proud of it. It’s called Cover Me: The Stories Behind the Greatest Cover Songs of All Time and it makes a great Christmas gift and – ok, ok, I’ll stop. You can find plenty more about it elsewhere.
Suffice to say, there’s been a lot of looking back this year. And we hope you’ll indulge us this one last glance rearward before we leap into 2018. Because if it’s been a hell of a year for us, it’s certainly also been a hell of a year for the cover song in general. Some of this year’s list ranks among the best covers we’ve ever heard, period. So dig in, and thanks for your support this past decade.
Follow all our Best of 2017 coverage (along with previous year-end lists) here.
Cover albums come and go from memory. It’s sort of inherent in the genre. When a major release comes out – a cover album by one prominent artist, or a tribute compilation by many – it tends to garner an avalanche of blog posts, then get forgotten within a year or two. Many deserve to, no doubt…but not all.
So, since we’ve been looking back a lot this year to celebrate our tenth birthday, I dug back into our previous year-end album lists. My original plan was to see which of our past #1s held up and which didn’t, but I was pleasantly surprised to find they were all still enjoyable. But many, even those that were big deals at the time, have been semi-forgotten.
So I thought, before we dive into this year’s crop, let’s remember what came before. We didn’t do a list the first couple years, but here’s every album we’ve named #1 so far, along with an excerpt of our reviews:
2009: The Lemonheads – ‘Varshons’
“Twelve songs of booze-pop genius cover both classic tunes by songwriters like Leonard Cohen (Liv Tyler guests!) and Townes Van Zandt and obscurities from July and the unfortunately-named FuckEmos.” See that year’s full list here.
2010: Peter Gabriel – ‘Scratch My Back’
“Against all odds, Gabriel builds an orchestra-filled, indie-fied, emotion-fueled masterpiece.” See that year’s full list here.
2011: Baaba Kulka – ‘Baaba Kulka’
“It’s a boisterous Iron Maiden celebration by a collective that may not have a metal bone in its body, but invite big grins while you sing (and dance) along with the wildest crossover album this side of Warsaw.” See that year’s full list here.
2012: Neil Young & Crazy Horse – ‘Americana’
“When you press play the first thing that strikes you is the fuzz of the power chords, the strained bellows, the cardboard-box bashing of the drums. Neil and the Horse’s ragged glory rages so hard the source material becomes secondary.” See that year’s full list here.
2013: Xiu Xiu – ‘Nina’
“Xiu Xiu’s Nina Simone tribute album isn’t an easy listen. It’s not necessarily an enjoyable one either. What it is though is riveting.” See that year’s full list here.
2014: Andrew Bird – ‘Things Are Really Great Here, Sort Of…’
“In Bird’s delivery, the Handsome Family’s songs of old, weird Americana kitsch will hopefully reach listeners who might find the originals too weird.” See that year’s full list here.
2015: Bob Dylan – ‘Shadows in the Night’
“Him releasing an album of songs associated with Frank Sinatra was no surprise at all; he’s been operating in the Ol’ Blues Eyes vein for decades now, just with a (very) different instrument.” See that year’s full list here.
2016: Various Artists – ‘God Don’t Never Change: The Songs of Blind Willie Johnson’
“When it comes to preserving the depth and breadth of the contexts and traditions of American music that informed Blind Willie Johnson’s ecclesiastic but world-weary growl, it helps that the nine artists here…are able to handle the spiritual aspects of Johnson’s work.” See that year’s full list here.
Okay, now that you’re all caught up – let’s see what this year holds!
Shelby Lynne and Allison Moorer have released a new record, Not Dark Yet. It has been out a week or two, and I’m surprised this hasn’t yet had much shout here, unless the sole original song discounts the inclusion of this consummate otherwise all-covers showpiece. Neither of the two sisters (for they are) are strangers to a cover, each producing an example within their already expansive repertoires, Shelby with her exquisite reimagining of Dusty Springfield on 2009’s “Just a Little Lovin’,” and Allison with her “Mockingbird” the year before.
Intriguingly, this is their first studio joint performance, although they have appeared together on stage. There is talk of a previous falling out, but if so, it looks as if they have found each other and then some, their voices melding as only kin can. Some commentators have name-checked the Everly Brothers. That is no hyperbole. But this is so much more than a meeting of two voices, the choice of material helping Not Dark Yet rise above the play-it-by-numbers country feast they could have produced in their sleep, not that that couldn’t or wouldn’t have been good. By picking songs by Nick Cave and Kurt Cobain, amongst others, as well as choosing a latter-day Dylan song (the title track), Lynne and Moorer show their chops to be way beyond Nashville. OK, so we have some Townes and some Merle, even the Louvin Brothers, but also, in the opener, a track from the Killers. There is also a track by current golden boy Jason Isbell. It all works, as does the sole self-penned track, by Shelby, outlining their already-well-told childhood domestic chaos.
If that were not enough, the production and arrangements are top notch, thanks to Teddy (son of Richard) Thompson taking the producer’s chair (and not a few background vocals besides). The band for the sessions is a slew of some of the normal culprits for quality product in this vein, Benmont Tech (the Heartbreakers) on swirling keyboards, Doug Pettibone (Lucinda Williams go-to guitarist), and Michael Jerome and Taras Prodaniuk, from Teddy’s dad’s band. The sound is magnificent, complementing the vocals, aiding and abetting this essential release.
Not Dark Yet song listing:
1. My List (The Killers cover)
2. Every Time You Leave (The Louvin Brothers cover)
3. Not Dark Yet (Bob Dylan cover)
4. I’m Looking For Blue Eyes (Jessi Colter cover)
5. Lungs (Townes Van Zandt cover)
6. The Color of a Cloudy Day (Jason Isbell cover)
7. Silver Wings (Merle Haggard cover)
8. Into My Arms (Nick Cave cover)
9. Lithium (Nirvana cover) 5
10. Is It Too Much (Shelby Lynne original)