Matt Bellamy, frontman of British rock band Muse, released a cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” From the first strum, the most noticeable change in this abridged version is the replacement of the piano with guitar. Then the sounds of an organ gently come in like a wave pushing over the last third of the song. Although there are fewer instruments in the acoustic cover the overall feel is anything but simple. Bellamy’s distinctive voice causes the vocals to be prominent with bright falsettos and a powerful finishing vocal run.
‘The Best Ever’ series counts down our favorite covers of great artists.
August 16 has long been a day of infamy in the history of American popular music. It started in 1977 when Elvis Presley, the King of Rock n’ Roll, passed away. Forty-one years later, another member of rock royalty also died: Aretha Franklin, the Queen of Soul. Though she was older and her death less of a shock to the cultural landscape, I still remember the exact moment when I heard the news. I was with my family driving home from Sesame Place in Pennsylvania listening to the Beatles channel on SiriusXM. The DJ interrupted to tell us the sad news and in Franklin’s honor played her version of “Let It Be.”
While it’s odd to categorize a new album as a teaser, it’s hard not to consider Closer To Grey, today’s surprise release from Chromatics, to be just that. In 2015, the band announced that a new album titled Dear Tommy was on the way, going so far as to offer an official track listing. Though several tracks earmarked for it have trickled out since then, the album itself has never been released. Stories of all copies being destroyed have led to comparisons with the the poster child of all that is unreleased, The Beach Boys’ Smile. In this day and age of stand alone song releases and mix tapes, an unreleased album being regarded with such reverence and anticipation is a rarity, and in the case of Chromatics, deserved.
Anais Mitchell & The Staves – Strong Enough (Sheryl Crow cover)
For a few years now, long-running French video company La Blogothèque has been filming a series they call “One to One” at Bon Iver’s various European festivals. They blindfold one audience member and bring them into a private room for a concert for one. Bon Iver did one, and Damien Rice’s is a must-watch. Personally, that experience sounds more awkward than enjoyable – especially with all the cameras in your face – so I’d rather just watch someone else’s personal concert on video. This one is a gem, feature The Staves with Anais Mitchell delivering a gorgeously-harmonized Sheryl Crow cover.
Despite the controversy surrounding the Best Picture-winning film Green Book, the movie might actually be the best thing to ever happen to the legacy of pianist Don Shirley. Though Shirley’s relatives have objected to the way Shirley was portrayed in the film, before its release his life and music had been largely lost to history.
As of this writing, his biography on Allmusic.com is only one paragraph. Many of his albums don’t even have track listings on the site. The website AllAboutJazz.com lists him twice, both times in articles about the film. In the jazz and popular music encyclopedias at two local libraries, I only found one reference to him, a single small paragraph in The Biographical Encyclopedia of Jazz.
In Pick Five, great artists pick five cover songs that matter to them.
In 1991, Townes Van Zandt wrote the following: “Anytime anyone asks me who my favorite music writers are, I say Mozart, Lightnin’ Hopkins, Bob Dylan, and Dave Olney. Dave Olney is one of the best songwriters I’ve ever heard — and that’s true. I mean that from my heart.”
Twenty-seven years later, Townes is gone, but Olney keeps on keepin’ on. He may not have become a household name in that time, but his reputation among his peers has only grown. Emmylou Harris has sung three of his songs. Linda Ronstadt tackled a pair herself. When Steve Earle covered Olney’s “Saturday Night and Sunday Morning,” he noted it took him four or five years of playing the song before he realized it was “so perfectly constructed that it doesn’t have a rhyme in it.” He added that Olney was “one of the best songwriters in the world.”