As regular readers know, here at Cover Me we put together a Best Covers Ever list every month for a celebrated artist. We’ve recently done the Pet Shop Boys and Sheryl Crow. And before them we did the biggie – The Beatles – and before them, Bob Dylan! But every now and again, there’s a particular genre that’s crying out for the Best Covers Ever treatment – and this month it’s the Dark Genre. It’s goth!
So why now, you ask? Are goth covers really a thing? And why don’t Alien Sex Fiend or Fields of the Nephilim have their own Best Covers Ever features?
Fair questions, all. First off, goth music is everywhere right now. It may have emerged out of the UK post-punk scene and enjoyed its most innovative period from 1980 to 1982, but it’s now the reason we have Whitby Goth Weekends in April and November (well, that and Count Dracula), World Goth Day on May 22, and goth nights down the Hatchet Inn in Bristol most nights, particularly Thursday. It’s also why we have heaps of goth books on the market right now, from John Robb’s The Art of Darkness to Lol Tolhurst’s Goth: A History and Cathi Unsworth’s Season of the Witch, all trying to explain goth’s lasting influence as a musical subculture: the fixation with death, the dark theatricality, the Victorian melodrama, the leather, the thick black eyeliner, the fishnet tights, the deviance, the sex, the deviant sex, and, of course, spiders.Continue reading »
Sixty years ago this month, The Beatles played on the Ed Sullivan Show. You don’t need us to tell you what a momentous occasion this was; entirebooks have been written on the subject. Suffice to say we’re using the anniversary as our excuse to finally devote a Best Covers Ever to perhaps the biggest band of them all. We’ve done Dylan. We’ve done the Stones. We’ve done Dolly and Springsteen and Prince. But there was one last giant remaining.
Though it’s difficult to measure this precisely, The Beatles are the most-covered artist of all time according to the two biggest covers databases on the internet (SecondHandSongs, WhoSampled). And that certainly feels right. “Yesterday” is often cited as the most-covered song of all time, though that needs qualifiers (a ton of Christmas standards would beat it). But, again, it feels right. The Beatles were ubiquitous in their day, and they’ve been ubiquitous ever since. They just had a chart-topping single last month, the A.I.-assisted “Now and Then,” which was duly covered widely. If “Carnival of Light” ever surfaces, no doubt a carnival of covers will soon follow.Continue reading »
I like to think that badass lady in the artwork up there (done by our own Hope Silverman!) embodies the spirit of this year’s list. Not that they’re all CBGB-style punk songs—though there are a couple—but in her devil-may-care attitude. “Who says I shouldn’t do a hardcore cover of the Cranberries? A post-punk cover of Nick Drake? A hip-hop cover of The Highwaymen? Screw that!”
As with most good covers, the 50 covers we pulled out among the thousands we listened to bring a healthy blend of reverence and irreverence. Reverence because the artists love the source material. Irreverence because they’re not afraid to warp it, bend it, mold it in their own image. A few of the songs below are fairly obscure, but most you probably already know. Just not like this.
Some of the albums on our list were obvious home runs. Cat Power singing a tribute to a 1966 Bob Dylan concert? You know that’s gonna be great (and it is). A bunch of punk and psychobilly bands blasting through Cramps covers? Pretty much a guaranteed blast. 90-year-old Willie Nelson in the twilight of his career paying tribute to one of his personal songwriting heroes? Good luck not being moved.
Others were more surprising. Reggae David Bowie could go either way. So could free-jazz Harry Styles or indie-rock ELO. And maybe the biggest surprise of all: T-Pain covers Sam Cooke and Black Sabbath…and it’s not terrible??
As always, big names mix with some albums we guarantee you’ve never heard of. To use one of the clichéd words we see constantly in cover-album titles, uncover some new favorites below.
25. Various Artists — Stuff Your Fridge!
Stuff Your Fridge! features 30 tracks, recorded by underground bands you’ve probably never heard, covering all aspects of the Grateful Dead songbook. The covers can be at times both brilliant and/or cringeworthy. The tracks that fare the best are the ones that stray the furthest from the original recordings, such as a goth version of “Cold Rain and Snow” by Delay 77 and a prog metal rendition of “Fire on the Mountain” by Buck Pool. But the compilers saved the oddest for last. That distinction goes to “Attics of My Life” by Holey Hell. It’s a keyboard-driven instrumental, arranged as if written for the soundtrack to a first-generation ‘80s Nintendo game. One can only imagine what they would have done with Drums and Space. – Curtis Zimmermann
24. Amos Lee — Honeysuckle Switches: The Songs of Lucinda Williams
Lucinda Williams seems like a solitary artist despite a steady flow of collaborations with (and covers by) her many admirers–country stars, jazz giants, and arena rockers alike. So it’s a warming surprise to have a full album tribute from an artist like Amos Lee, one who has made his own sizable mark as a songwriter and who is a generation or two younger than Lucinda.
Drawing from all phases of Williams’ discography, Lee keeps mostly on the bare bones side of things, with acoustic guitar or piano supporting his soulful vocals. Certain takes may miss the emotional core of the originals, while on other tracks he brings life to songs that may have felt too downbeat in Lucinda’s delivery of them. Or not–each listener’s mileage will vary. And anyway, Honeysuckle Switches may well find an unbiased audience in Amos Lee fans who haven’t yet known the pleasure of the songs of Lucinda Williams. – Tom McDonald
23. T-Pain — On Top of The Covers
In 2019, Auto-Tune pioneer T-Pain joined the first cast of The Masked Singer in 2019, a television show where celebrities hide their identities behind costumes and sing. T-Pain ended up revealing himself at the very end, by winning, and surprising the judges. T-Pain’s cover album maintains a similar spirit, whether he is still searching for redemption after the death of Auto-Tune or finally at peace asserting his raw talent. He has chosen each song on the album to show off his vocal range and power, spanning from old standards to hits through the ages. You will hear plenty of vocal runs that assert “listen to what I can do,” but they do so without an overbearing bravado, just confidence. Instead of relying on a computer to back him up, T-Pain layers his own voice intricately throughout the entire album. You can hear it in the Glee-like chorus accompaniment in “Don’t Stop Believin’.” His choosing “Don’t Stop Believin’” in the first place makes me think T-Pain is not taking himself too seriously with this cover album. It’s a guilty pleasure song, and perhaps not one that would first come to mind for someone whose brand is “Hard&B”. – Sara Stoudt
22. Various Artists — Dead Formats Vol. 2
Pure Noise Records’ second volume of (primarily) indie rock and alternative covers is just as fun as their first edition (which was our 16th best covers album of 2022). 15 artists tackle 15 tracks, as far back in time as Elton John from the ’70s, and there are a few tracks from the ’80s and ’90s, but most are covers from the aughts. Most of the covers are straightforward, high energy performances filtered through the lens of pop punk, but a few really stand out stylistically. Less Than Jake really lean into the vaguely Caribbean air of The Kinks’ “Come Dancing,” going full ska. Lavalove appear to treat Nirvana’s “Lithium” as pop punk, but then, on the bridges, they get really playful, alternately vamping and then embracing an aesthetic similar to Nirvana at their nosiest. Mint Green slow down Incubus’ “Drive” and though they don’t deviate much from the arrangement, the female harmonies stand out from the rest of the collection. (The Linkin Park and Slipknot covers also stand out, but only because they are faithful and the only nu-metal covers here.) – Riley Haas
21. Teddy Thompson — My Love of Country
Anyone not already convinced of Teddy Thompson’s mastery of country music need only waltz into his joy of an eighth album, appropriately titled My Love of Country. It’s here that the singer (hailing from London rather than Nashville, lest you should wonder) revitalizes a trove of country standards from the ’50s and ’60s. And it’s here that he channels his 23 years of professional dalliance in the genre into one immensely satisfying, 27-minute whole.
Teddy has the voice for it, of course, which is as strong, deep, rich, and emotive an instrument as it’s ever been. He also has the necessary conviction to deliver tracks previously made famous by George Jones, Buck Owens, and Ray Charles, as well as the skill to forge a magnificent country cut out of a whiskey-soaked number penned by his famous folky dad, Richard, in 1974: “I’ll Regret It All in the Morning.” He further has the help of an impeccable range of musicians to bring the fine period detail, including Charlie Drayton (drums), Byron Isaacs (bass), Jon Cowherd (piano), and producer David Mansfield (violin/accordion/pedal steel/most other things). That’s not to mention sublime harmony singers in the vein of Logan Ledger. But the ultimate reason Thompson makes “A Picture of Me Without You,” “Cryin’ Time,” and “You Don’t Know Me” sound so heartfelt and effortless is from having been immersed in these songs for much of his life. “That’s the real key,” he says, “having them in your body for a long time.” Amen to that. – Adam Mason
This month, our ongoing series of One Hit Wonders covers comes to its end. We’ve done the 1950s (think “Earth Angel,” “Tequila”), the 1960s (“96 Tears,” “In A Gadda Da Vida”), the 1970s (“My Sharona,” “Black Betty”), and the 1980s (“You Spin Me Right Round,” “Turning Japanese”). Now we hit the 1990s today and the 2000s next week.
For millennial readers, these will be the songs you remember hearing on the radio and watching on MTV growing up. So many ubiquitous classics of the era like New Radicals’ “You Get What You Give” and 4 Non Blondes’ “What’s Up,” by artists who only had a brief moment in the sun (you might say someone stole their sunshine…). Also some fun flukes, where the artist’s cultural impact goes way beyond “one hit wonder” — but, according to the fickle US pop charts at the time, they qualify on a technicality: Robyn, Fiona Apple, etc. Plus Sir Mix-a-Lot’s “Baby Got Back,” which has to be in the conversation for the most One Hit Wonder to have ever One Hit Wonder-ed.Continue reading »
The return of Siouxsie Sioux to the stage this year was as welcome as it was unexpected. Her not performing in public for the past decade did not mean her fans had forgotten her. Some folk have never abandoned her signature look, and people born long after she had her biggest hits could be seen with that look in British cities and beyond during the interregnum. The music never went away, the originals on repeat and lots of cover versions. Cleopatra Records have assembled an outstanding list of devotees to pay homage in the well-timed tribute Spellbound.
There is a tendency to look at Siouxsie and the Banshees, driven by Siouxsie and Steve Severin, with dark purple lenses. But that can neglect the breadth of their achievements. To wit:
The first iteration of Siouxsie’s pre-Banshees band had Billy Idol and Sid Vicious in it and fitted with the punk ethos of the day.
The infamous moment when the Sex Pistols let loose expletives on prime-time TV started when presenter Bill Grundy made a clumsy pass at Siouxsie.
One classic lineup of Siouxsie and the Banshees was a driving guitar band, expertly produced by Steve Lillywhite, who later developed U2 and Big Country.
Their biggest hit in the UK was an audacious cover of “Dear Prudence,” chosen as Robert Smith (filling in between iterations of The Cure) knew the melody.
By the time of their only (!) hit in the US, 1991’s “Kiss Them for Me,” Talvin Singh’s tabla rhythms were in the mix, before a wide swath of artists adopted the sound.
Many miles away from the center of the action for pop, in a town just outside of Glasgow, the Jesus and Mary Chain showcased art school antics and developed the shoegaze sound, citing the Banshees as a significant influence.
The Banshees had a prototype trip-hop song as early as 1983.
Of course, on this site we are interested in their history of covers, and here too the band excelled. Their 1987 Through the Looking Glass album gave insight into their influences and heroes. These were not in punk but in classic pop and rock, heavily featuring those artists who presented a whole package of music, visuals, and attitude. Siouxsie performed with Iggy Pop just this year, which went better than when she performed with Nico in the ’70s. In the video for “The Passenger,” Siouxsie and the band were clearly larking about, comfortable where they were and with each other.
Siouxsie’s influence was very broad across genres and artists, and female artists have consistently expressed gratitude just for Siouxsie’s existence as a trailblazer and icon. From her first recording, Siouxsie called the shots, rejecting her label’s choice of producer, and choosing one that better reflected what she wanted to do. That first single was a hit. Did that make it easier for the next generation of highly talented women to get their vision expressed? You can only hope. Continue reading »
The return of Siouxsie Sioux to the stage this year was as welcome as it was unexpected. Her not performing in public for the past decade did not mean her fans had forgotten her. Some folk have never abandoned her signature look, and people born long after she had her biggest hits could be seen with that look in British cities and beyond during the interregnum. The music never went away, the originals on repeat and lots of cover versions. Cleopatra Records have assembled an outstanding list of devotees to pay homage in the well-timed tribute