For the new documentary I’m Leaving Now (Ya Me Voy), about an undocumented worker in Brooklyn, singer-songwriter Xenia Rubinos covered The Clash’s “Should I Stay or Should I Go.” It features all the energy and passion of the original, with a twist: with the personal approval of The Clash’s Mick Jones, she translated the lyrics entirely into Spanish.
In Pick Five, great artists tell us about five cover songs that matter to them.
Plenty of musicians write songs about politics. Fewer write songs about economics. But that’s the subject of all ten tracks on British singer-songwriter David Ford’s new album Animal Spirits, out Friday.
If an album about markets and trickle-down theory sounds kind of, well, dry – it isn’t. At all. Like all of his albums, Animal Spirits is brilliant: bluesy barn-stormers mixed with a few wedding-worthy love songs. Check out the title track:
Every so often, a figure from behind the scenes of popular music garners such renown that he or she becomes a household name: “Colonel” Tom Parker, Quincy Jones, and Carole King (as a hitmaking songwriter before she stepped into the limelight) to name a few.
And then there are all the countless others, the ones who passed through this realm largely unheralded by the record-buying public. One of these was songwriter and producer Ed Cobb, who would have turned 80 today. You may not know his name, but he left his mark on some very disparate—and uniquely compelling—byways of pop music.
Cobb’s musical career began as a member of the Four Preps, a white doo-wop group that scored two Top Five hits in 1958. The Preps’ sound was safe and family-friendly; hardly the stuff of legend. But early on, Cobb gravitated towards songwriting and production, penning soul and R&B numbers rather than the Preps’ squeaky-clean material. One of these was a little number Cobb wrote for Gloria Jones called “Tainted Love.” It didn’t make much of an impact in its first two iterations, but on its third try became a record-breaking smash, hitting #1 in 17 countries. (Of course, close readers of Cover Me will already know this story.)
But there’s more to that song’s journey. When we recently spoke with Fugazi frontman and Dischord Records co-founder Ian MacKaye about Ed Cobb – his other band Minor Threat covered Ed Cobb’s “Sometimes Good Guys Don’t Wear White” – he alerted us to a yet another cover of the song:
Husband and wife team Cary Ann Hearst and Michael Trent, better known as Shovels & Rope, know their way around a good cover song. We’ve shared a handful of their covers here at the site over the years, including a couple of cuts from their 2015 collection of covers, Busted Jukebox, Volume 1. From that title, it’s almost as if they knew they’d be releasing more covers at some point. Well, surprise! This week sees the release of Busted Jukebox, Volume 2, following the same format of Volume 1: a wide-range of source material reimagined with the help of some musician friends.
Ten years ago today, I had a whim.
I was studying abroad one semester and found myself with a lot of free time – school work was light, and a college student’s budget limited my international explorations – so I decided to start a blog. A second blog actually, since for several years I had run a personal blog of concert reviews and bootleg downloads called Dylan, Etc (it had more “Dylan” than it did “Etc”). I’d fallen in love with the cover song after hearing Bob Dylan (who else) play a revelatory cover of “Summertime” on his short-lived radio show. I’d already hosted a Cover Me college radio show, and decided to expand us to the World Wide Web.
These were the days of the so-called “MP3 blog,” which included a vibrant subgenre of cover-songs blogs. That’s right, I’d like to claim credit for inventing the category, but I didn’t – not even close. RIP to Copy Right?, Cover Freak, Fong Songs, and the rest of the pioneers – and shoutout to our fellow survivors from that era, Coverville, which was releasing podcasts before most people knew what that word meant, and the folk blog Cover Lay Down, which began around the same time as us.
A lot has changed over the past decade. We’ve published 3,564 posts as of this one. Oh, and did you notice the pronoun change there? Cover Me is no longer an “I” – it’s a “we”, with over 60 writers contributing over the years. We’ve grown from an ugly Blogspot to our spiffy own domain (which is overdue for a redesign itself, frankly). And in case the large banner ads all over the site weren’t clue enough, I just released a book also called Cover Me, which – back-patting alert – Variety called “one of the best multi-subject music books to come down the pike in years.”
We wanted to do something special to celebrate our tenth birthday. And we wanted to celebrate not just ourselves, but celebrate the cover song itself. So we put together this little album Cover Me Turns 10: A Covers Tribute to Covers as a gift to our readers. We contacted several dozen of our musician friends and asked them to cover a cover. That is, to honor the many great songs we might not even know without an iconic cover – Aretha Franklin reinventing Otis Redding’s “Respect,” Quiet Riot amplifying Slade’s call to feel the noize, Prince learning that nothing compares 2 Sinéad O’Connor.
We’re honored that so many of our favorite musicians contributed, and frankly speechless at how great a job they did. So speechless, in fact, that we asked them all to introduce their own work with a few sentences. A million thanks to all of them, and also to Cover Me writer and art whiz Sean Balkwill for designing the lovely – ahem – cover. The whole thing is free to download at Bandcamp until downloads run out, and free to stream forever.
Enough chatter from me. For ten years this blog has been all about celebrating the music and we’re not going to stop now. Thanks for taking this journey with us.
– Ray Padgett
Cover Me Founder
Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
One of the perks of writing for Cover Me is the degree to which it gives you the chance to make discoveries. For instance, I was searching for some good Clash covers (more on why in a minute) and it led to find the 2006 album Stereo Also Playable Mono by MakroSoft. After listening to a few tracks, I got the impression that John Barry, Lalo Schifrin, and Ennio Morricone had gotten together, in a laboratory sponsored by Kraftwerk, and created film scores based on some of the immortal songs of the previous half century.