Northern Soul was, and is, a club phenomenon in the UK. In the early days (during the 60s and ’70s) DJs sorted through thousands of US R&B records for neglected or forgotten gems which could be ‘stompers’. To this day there are many R&B songs much better known in the UK than in their US home. The ‘Northern’ part generally relates to venues in English Northern cities, but there were also some great events in Scotland, the North of Britain. Scottish band Texas’ latest greatest hits album contains a new version of Northern Soul classic “Keep On Talking,” a song about the joys of being seduced. Rock and Roll Hall of Famer Spencer Oldham, who wrote the song with Dan Penn, produces. Continue reading »
‘The Best Covers Ever’ series counts down our favorite covers of great artists.
For some artists we look at for these lists, it seems like every time someone covered one their songs, it turned out pretty good. Leonard Cohen was like that; the quality of the average Cohen cover is fairly high. John Prine, too.
Stevie Wonder is not one of those artists.
It’s not his fault, or the fault of his songs, but his material often gets sucked into the same cocktail-jazz muck that fellow piano man Billy Joel’s does. Nothing wrong with that sort of lounge jazz-pop when done well – and there are a few times on this list when it is – but there’s a lot of mediocrity to wade through. Stevie’s performance and production skills are so sharp that, when placed in lesser hands, his songs can come off as sentimental shlock. All the “Isn’t She Lovely”s alone are so sugary sweet you feel like you’ll get diabetes.
But here’s the good news: Covers of Stevie Wonder’s songs are so ubiquitous that, even when you weed out the bad and the just-okay, you’re still left with plenty of greatness. The fifty below span funk, bluegrass, rock, hip-hop, jam band, jazz, and into galaxies beyond. So here they are, signed, sealed, and delivered to knock you off your feet.
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Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
The Velvet Underground are making one of their regular visits to current-events music magazines, what with the Todd Haynes documentary that wowed Cannes and the impending Hal Willner tribute album. Of course, they’ve never left the annals of influence – not since all those few who bought their first album went out and formed bands.
But it’s their third album we’re going to look at today. A complete one-eighty from White Light / White Heat, the album that preceded it, The Velvet Underground saw Lou Reed embracing his inner balladeer, writing and playing slower and so much sweeter. With Doug Yule replacing the singular John Cale, and with Sterling Morrison and Maureen Tucker both as simpatico with bucolic Lou as brusque Lou, the band was more united than ever, and just as powerful in a whole new way. (Quick aside: Happy birthday to Maureen Tucker, who turns 77 today, and a moment of silence for Sterling Morrison, who was born one August 29 and died one August 30.)
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Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
Let It Be was the soundtrack of a band falling apart. That was never the plan, of course – the Beatles conceived the album as a back-to-basics effort, in which they would rediscover the joys of playing together without overdubs, only to find themselves bored, angry, and miserable, each one trapped with three bandmates who couldn’t understand what he was going through. They were unhappy with the results and shelved them, but a known goldmine won’t stay untampered, and Phil Spector was brought in to make something of the mess. Upon its release, the highest praise any Beatle gave it came from John, and his quote – “When I heard it, I didn’t puke” – scarcely counts as a ringing endorsement.
Today Let It Be is still seen as one of the weakest albums in the Beatle catalog – but then, this being the Beatles, that means there are only three or four immortal classics, plus a few more that would be high points in the catalogs of 98% of the world’s bands. Somehow, this dying gasp of an album, recorded in notoriously joyless circumstances, found its way into the hearts of millions; somehow, that’s where it was always meant to be.
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