One of the fun trends to happen among all the covers that have exploded with the rise of video streaming are covers of popular songs by unique instruments from a wide variety of cultures. If there’s an instrument out there, chances are someone has covered a famous song on it and uploaded the video to YouTube. This is the career Moyun has made for herself, covering both Chinese music and western popular music on the guzheng, a Chinese version of a zither. We last highlighted her on Cover Me with her incredible cover of AC/DC’s “Thunderstruck.” Continue reading »
‘The Best Covers Ever’ series counts down our favorite covers of great artists.
“Downtown Train.” “Ol ’55.” “Jersey Girl.” These are just three of the Tom Waits songs better known for their covers (respectively: Rod, Eagles, Bruce) than for Waits’ own performances.
It probably doesn’t need saying that Tom’s recordings are, in the best way possible, idiosyncratic. So it makes sense that, like Dylan, like Cohen, his songs often become more popular when more “traditional” voices sing them. Many of the best covers, though, keep some of that strangeness. No, they don’t do “the Tom Waits voice” – most people wouldn’t be able to talk for a week after attempting that. But they don’t sand off the strangeness.
Tom’s debut album Closing Time came out 50 years ago this month; he’s doing a reissue to celebrate. It, and its successor The Heart of Saturday Night, are in some ways his least representative albums, though. The songwriting is already strong on these, but it comes in – if you can believe it – a fairly conventional package. His voice hasn’t revealed its true character (to pick one among many memorable descriptions: “a voice like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car”), and he hadn’t discovered that hitting a dumpster with a two-by-four makes great percussion.
Some of those very early songs get covered in our list below. But his later, weirder, songs abound, too. Tom’s wife Kathleen Brennan, his musical co-conspirator for decades now, said her husband has two types of songs: “Grim Reapers” and “Grand Weepers”. On his Orphans box set, Tom divided them up another way: Brawlers, Ballers, and Bastards. You’ll find some of all flavors below. (And, if you want more new writing on Tom Waits music, subscribe to a newsletter called Every Tom Waits Song that – full disclosure – I also run).
– Ray Padgett
PS. Find Spotify and Apple Music playlists of this list, and all our other monthly Best Covers Ever lists, at Patreon.
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Cover Genres takes a look at cover songs in a very specific musical style.
Musical obsessions are not always as cut and dried as “this is my favorite song/ album/ band/ genre.” Occasionally you will find yourself in uncharted territory, involuntarily drawn to something so specific and esoteric that it doesn’t fall under the umbrella of an actual existing category. Hmmm… I’m making this sound way more dignified than it is. What I’m trying to say is, most dyed-in-the-wool music nerds have what I’m going to call an imaginary friend. By that, I mean that they have an obsession with some weird-ass thing or self-invented category, one that may not be audible to the ears of others, but feels oh so real to them.
I am now going to introduce you to my imaginary friend, my Harvey, my Snuffleupagus, my Drop Dead Fred. It’s a “thing” I’m obsessed with, which, while exceedingly specific and adhering to a strict set of self-invented rules, doesn’t technically exist as an established, formalized entity.
In a nutshell, I have an insatiable fascination with R & B covers of ’70s Soft Rock songs. Specifically, those recorded in the same era as the originals, when the originals themselves were still young, topical, and ubiquitous.
This oddball interest has roots in all the times I spent as a captive backseat passenger in my Mom’s 1972 white Chevy Nova with the sunflower painted on the side (only one word for that car: bitchin’). It was in this magical machine that my musical foundation was established and my taste was, some might say tragically, molded into shape. Meaning I was exposed to a helluva lot of ’70s AM pop radio as a kid. And there were two things being churned out in ample quantities back then that I especially loved:
1. R&B aka Soul Music (the first single I ever bought was by The Spinners, the first LP was by Billy Preston)
2. Soft Rock, primarily the candy-coated version (“Shannon is gone, I heard…”)
For a specific subgenre, “Soft Rock” is a pretty broad descriptor. The term has come to characterize the adult incense burning-cool babysitter sounds of Carole King and James Taylor, as well as the candy-coated, big-chorus-ed corniness of Barry Manilow and the Captain and Tennille. While we tend to draw a distinction between these two types of Soft Rock (the former is “cool,” and the latter… isn’t), back then, to my kid ears, they were the same damn thing, 100% equal in terms of their artistic credibility. They were all served up on the same radio stations, so in my world, Jackson Browne and Helen Reddy were as one. It was all pop music.
My sloppy love for both the Soul and the Soft did not trigger a lightbulb moment where I thought, “hey, I love these two things and I wonder if there are artists who have perhaps married the two.” Lord no. That would have been far too sophisticated a notion to have ever sprouted up in my eight-year-old peanut brain. My fascination with the marriage was a more random pursuit that defined itself over time. I think it may have been triggered by hearing The Four Tops’ incendiary cover of Fred Neil’s “Everybody’s Talking” on some compilation in the ’80s. I honestly can’t remember. What I do know is that as technology advanced, my pursuit grew more and more fanatical with each passing day.
Once I could get at discographies with the touch of a button, the nerd assembly line kicked into high gear. Stores were scavenged for Soul-ified Soft Rock treasures. Mixtapes were assembled, followed by mix-CDs, finally culminating in an immense iTunes playlist I pathetically titled, yup, Soul in the Middle of the Road, that grew to feature hundreds of songs. They ran the gamut from transcendent (some rivaling or surpassing the originals in terms of beauty) to horrible (oh man) to just straight-up bizarre (you’ll see).
As alluded to earlier, my main interest is in covers that were recorded during the same era as the originals, in or on the edges of the ’70s. These covers offer a direct nod to the ubiquity of the originals and capture the spirit of that swingin’ era in a way that is impossible for a latter-day cover to achieve (to me, anyway).
I now humbly offer you 30 of the finest, weirdest, and “what the holy hell was that” soul-infused covers of classics and beloved deep cuts from the sweet ‘n’ vast Soft Rock canon. Now I’m sure some of the artists I’m about to mention would bristle at having one of their works characterized as “Soft Rock,” but hey rock star, you made a Soft Rock song, so you know, that’s on you (also thank you, you sexy thing). At the end of the day, they should all feel grateful and flattered to have had their sweetest sounds so soulfully celebrated.
As for me, I hear love in every one of the covers that follow and genuinely hope you can too. Take it away, Tops…
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Follow all our Best of 2021 coverage (along with previous year-end lists) here.
To come up with our year-end list, we listened to thousands of covers.
That’s not an exaggeration, or loosely throwing around “thousands” for effect. My iTunes tells me I personally listened to and rated 1,120 new covers in 2021. And I’m just one of a dozen people here. Many of those thousands of covers were very good! But “very good” isn’t good enough for our annual year-end Best Cover Songs list. So when we say these 50 are the cream of the crop, we mean it.
They, as usual, have little in common with each other. A few tie into current events: Artists we lost, social justice concerns, live music’s fitful return. Most don’t. But does a doom metal cover of Donna Summer really need a reason to exist? How about African blues Bob Dylan, New Orleans bounce Lady Gaga, or organ ballad Fleetwood Mac? Nah. We’re just glad they’re here.
So dive into our countdown below – and, if you want us to send you a couple hundred Honorable Mentions culled from those thousands, join the Cover Me Patreon.
– Ray Padgett, Editor in Chief
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Brandi Carlile – I Remember Everything (John Prine cover)
Millions saw Brandi Carlile cover John Prine’s final song “I Remember Everything” at the recent Grammy Awards. Turns out, it was a preview of a new album, a sequel to 2010’s Broken Hearts & Dirty Windows: Songs of John Prine, one of the best tribute albums ever. Not much more info out there yet – it’ll be out in the fall, apparently – but it has a high bar to live up to. Continue reading »
Former Teeth & Tongue leader Jess Cornelius is about to release her first solo LP in July. As part of the promotion for this record, she’s recorded a grimey almost grunge cover of the Eagles hit “I Can’t Tell You Why.”
Timothy B. Schmit’s first and only lead vocal before the Eagles broke up in 1980, “I Can’t Tell You Why” is an atypical hit for the Eagles. Sounding more like a soul song than their typical country and classic rock, it’s notable for its distinctive three note guitar refrain after the chorus and Schmit’s blue-eyed soul vocal.
Cornelius’ version opens at a considerably slower pace than the original, with just her voice and a heavily distorted guitar. She layers an additional spiky guitar on top before she is joined for the second verse by drums, bass and and subtle keyboards. Aside from the tempo, she hasn’t done anything particularly different to the song, and she even mostly cops the solo. However, the vibe is entirely different, due to her heavily distorted rhythm guitar and her vocals, which are a far cry from the soul of a Smokey Robinson or Al Green.