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!
Let’s start our final day of Supergroup Week with the band that started my own deep dive into supergroups…
The origin story of The Jaded Hearts Club is so pure of heart (just look how happy they look above!). Jamie Davis, co-owner of Transcopic Records, wanted a Beatles cover band for his birthday party, so he recruited his musical friends, Matt Bellamy (of Muse), Nic Cester (of Jet), Graham Coxon (of Blur and co-owner of Transcopic), Miles Kane (of Last Shadow Puppets), and Sean Payne (of the Zutons), to help him out. After that initial foray into covers, the band released a cover album in 2020, expanding beyond the Beatles.
This inspired me to look into other supergroups, their origin stories, and the musical networks that create them. What musicians have a day job as musicians but still have creativity overflowing to pour into side projects? There’s an extra layer when supergroups cover other musicians’ work (I’m not including when they cover songs originally by members from their formal musical careers). Cover bands are the ultimate anti-ego; they’re paying their respects to music that has influenced them.
Rock Gods commune among us on the Internet these days. In a brief but cheery post shared to his official Facebook page earlier this week, Paul McCartney gave his hearty seal of approval to fellow (comedy) rockers Tenacious D’s latest release: an off-the-wall cover of The Beatles’ “You Never Give Me Your Money / The End.”Continue reading »
David Crosby (formerly of Byrds), Stephen Stills (formerly of Buffalo Springfield), and Graham Nash (formerly of the Hollies) formed the creatively named Crosby, Stills & Nash supergroup in 1968. There were no formal ties between the three; they had just played together in non-formal settings and were wrapping up their involvement in their previous bands around the same time. Starting in 1969, Neil Young (who knew Stills from Buffalo Springfield) was in and out of the group. This supergroup is the first band to have all members inducted into the Rock and Roll Hall of Fame twice, true supergroup status!
Despite their popularity and success, there was frequent transition between being a trio and being a quartet due to conflicting dynamics within the group. They started as CSN in 1968, became CSNY in 1969, and then went on a hiatus in 1970. Until 1973 everyone was working solo, and then CSNY 2.0 arose in 1973. By 1976 they were down to CSN. Young made his final stint in the band starting in 1988 but wasn’t always part of the touring, especially in the 2010s.
The matching outfits. The perfectly coiffed hair. The synchronized finger-snapping. The beautiful faces. And, of course, the angelic voices. Just saying the phrase “Girl Groups” conjures images of these well-styled ladies from the past singing their hearts out, dreaming of those young boys they hoped to marry.
Many of the group names are legendary. The Supremes, The Ronettes, The Crystals, The Shirelles, and Martha and the Vandellas have been fixtures of “oldies” format radio for decades. Leading these groups were great frontwomen like Diana Ross, Ronnie Spector, and Martha Reeves, as well as Darlene Love, who sang for multiple groups unbeknownst to the record buying public. There were also countless ladies who did not become household names, such as Arlene Smith, lead singer of the Chantels, who belted out the group’s classic “Maybe.”
For the purposes of this list, we decided to focus on the period known as the “Golden Age of Girl Groups.” Though we’re calling it ’60s in the headline, it really spanned from roughly 1955 to 1970. In this era, the music was transported from the street corners and dance halls to the radio, which broadcast it into living rooms across the country. The songs blended elements of doo-wop, early rock ‘n’ roll, pop, gospel, and rhythm & blues. When melded together, it created a sound as fresh and new as the 45s and transistor radios that blasted out the music.
Most of the best-known girl groups were women of color (with a few notable exceptions, such as the Shangri-Las). These women not only topped the charts, they broke down barriers as they helped to integrate segregated audiences across the country, including the Deep South.
Behind the scenes were equally legendary songwriters, musicians and producers. You know their names, too: tunesmiths such as Carole King and Gerry Goffin, and the Motown song and production trio Holland/Dozier/Holland (Lamont Dozier and brothers Brian and Eddie Holland).
Such a shiny veneer had a dark side, though, in the form of the notorious Phil Spector. He was a brilliant producer who presided over many of the era’s biggest hits, but he was also a truly terrible human being who physically and emotionally abused his charges, including his ex-wife Ronnie Spector. He would eventually be convicted of murder and died in prison earlier this year.
The music has continued to inspire covers by both male and female artists – or boys and girls, in the parlance of the genre. Our list features covers by everyone from Aerosmith to Amy Winehouse, the Beatles to Bananarama (a girl group of another era), as well as ska bands, punk bands, indie bands, and countless Rock and Roll Hall of Famers who have covered tracks from the era.
That’s probably because the songs were so darn powerful. Love songs that captured the ecstasy and agony of teenage emotions like “Will You Love Me Tomorrow,” “Please Mr. Postman” and “You Can’t Hurry Love.” Party favorites such as “Dancing in the Streets” and “Heat Wave.” And songs that dealt with more complex social issues such as “Love Child,” and the disturbing “He Hit Me (And It Felt Like a Kiss).” Such great songs inspire great artists to record fantastic covers. Here’s a selection of our favorites.
Adia Victoria recorded this powerful Badu cover for the National Suicide Prevention Lifeline. She said of the time she discovered the song, “I was looking for something that was bigger and deeper and felt more warm than the idea of a Christian God. And I dove into my imagination. And the first time I heard ‘on and on’ it felt like Erykah Badu was waiting for me to be her there.”Continue reading »
We’re not generally in the practice of publishing reader mail at Cover Me (doesn’t mean we don’t appreciate getting it!). There’s no Letters to the Editor page like you’d see in an old magazine. The comments section and social media serve that function well enough. But today, we’re making an exception.
Last summer, a German reader named Karsten Schroeder wrote in offering to share some cool covers he liked by German bands. We said sure – we’re always looking to discover new stuff, after all. We didn’t hear much after that and, to be honest, forgot about it. Then, a full ten months later, he emailed an exhaustive look at the covers scene in Germany. Across 123 songs, Karsten explored covers spanning punk – his favorite genre – to hip-hop, folk to pop to a few genres that are Germany-specific (“Fun-Punk,” “Deutschrock”). It was so rich and detailed, full of amazing covers that we – and, I expect, you – had never heard before that we asked him if we could publish it.Continue reading »