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Feb 182022
Musically speaking, Yoko Ono (“ocean child” in Japanese) is still predominantly recognized as a primal screamer, an avant-garde provocateur, and an agent of harsh, visceral noise as a kind of feminist weapon. She’s accepted, in such terms, as a key influence in the development of female-fronted alt-rock along the lines of grunge and the riot grrrl movement, with Kim Gordon of Sonic Youth, Courtney Love of Hole, and Kathleen Hanna of Bikini Kill having all spoken of her importance to them. Her shrieking, confrontational sound may, indeed, be considered her signature style. But it’s also a stereotype. One that’s been reinforced in Peter Jackson’s recent Get Back documentary, where Yoko’s to be seen, in footage from 10 January 1969, leading Beatles John, Paul, and Ringo in an impromptu freak-out session by wailing and howling into George Harrison’s recently vacated microphone.
Death Cab for Cutie frontman Ben Gibbard is all too aware of the blinkered perspective many people have of Yoko’s music, doubtless aggravated by the fact that her songs still never get played on the radio. It’s this that’s driven him to curate Ocean Child: Songs of Yoko Ono, a tribute album to coincide with the New York-based artist’s 89th birthday. He’s all about doing justice to her more underappreciated musical achievements here, contending that “the tallest hurdle to clear has always been the public’s ignorance as to the breadth of Yoko’s work.” He’s aware, at the same time, that the dust has long settled on previous collaborative efforts born of similar concerns, from the Every Man Has a Woman Who Loves Him tribute record of 1984 (for Yoko’s 50th birthday), to remix projects Yes, I’m a Witch and Open Your Box in 2007, and Yes, I’m a Witch Too in 2016. This is not to forget tribute album Mrs Lennon: Songs by Yoko Ono in 2010, consisting solely of female Brazilian artists.
Gibbard, then, resumes the good fight previously fought on albums that pitched Yoko as a versatile songwriter variously relevant to the genres of new wave, experimental pop, Brazilian pop, and dance music. Over 14 tracks, he aims to convince listeners of her particular skills in composing melodies “as memorable as those of [the] best pop writers,” as well as lyrics of “poignance, sophistication and deep introspection.”
And you know what? He makes you wonder.
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Dec 102021
Follow all our Best of 2021 coverage (along with previous year-end lists) here.
It feels like a cliché these days to start one of these year-end lists writing about “the times we live in,” but, as you read and listen to our picks, you’ll find the specter of the coronavirus and lockdown pretty unavoidable.
One of these albums is titled Songs from Isolation; another is Awesome Quarantine Mix-Tape. Even on some albums where it’s so blindingly obvious, it’s there. Aoife Plays Nebraska is a recording of a quarantine livestream she gave. Los Lobos envisioned Native Sons as a balm for being stuck at home, unable to tour. And then there’s the tribute to John Prine, the long-awaited sequel to 2010’s Broken Hearts and Dirty Windows, inspired by his death from the coronavirus last year.
But many of these albums recall better times too. Two are belated releases of in-real-life, pre-pandemic tribute concerts, one to Leonard Cohen and the other to Eric Clapton’s Derek and the Dominoes (well, I guess both of those subject are kind of bummers, in different ways…). Tributes abound to other recent deaths – Andy Gibb, Justin Townes Earle, Roky Erickson – but we have plenty to artists still with us too, like Nick Cave, Peter Gabriel, and a host of underground psych-rock bands you’ve never heard of.
Then there are those that don’t fit any narrative. An artist felt inspired by an unconnected bunch of songs, decided to cover ’em, and brought them all together into a cohesive record. What do Vampire Weekend and The Supremes have in common? Lauren O’Connell’s beatifully intimate imaginings. How about Allen Toussaint and Calexico? Robert Plant and Alison Krauss harmonizing all over ’em. Whether it’s a quote-unquote “lockdown record” or just someone saying, “hell, why not get a bunch of folkie weirdos to play Phish tunes?,” every album on this list brought something meaningful to – ugh – the times we live in.
– Ray Padgett, Editor-in-Chief
The list starts on the next page…
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Sep 092021
The Flaming Lips’ covers projects often come with weird twists. They’ve covered “A Day in the Life”…with Miley Cyrus. They’ve covered Dark Side of the Moon…with Henry Rollins and some band called Stardeath and White Dwarfs. And, in the newest incarnation, they’re releasing a Nick Cave tribute record…fronted by a 13-year old. Continue reading »
May 292020
Check out the best covers of past months here.
Daniel Romano’s Outfit – Sweetheart Like You (Bob Dylan cover)
This one’s for all the Dylan superfans. In 1984, Bob Dylan played three songs on Letterman with L.A. punk band The Plugz. They were gritty and garagey and raw. It boded well for his new sound. And then he never played with them again. The album he was ostensibly promoting, Infidels, was much smoother, helmed by Mark Knopfler. For those who still wonder what could have been, Daniel Romano covered the entire album as if he’d recorded it with The Plugz. Continue reading »
Mar 232020
Many musicians, unable to go on the road, have taken to performing concerts in their home in the past week. Personally, I have spent a huge amount of time watching various these live streams. The performances have been moving and powerful, an unusually intimate way to see some of your favorite musicians.
Many such shows have included covers, songs that feel right to sing right now, like John Lennon’s “Isolation” or Leonard Cohen’s “Hallelujah.” So I decided to round up some of my favorites below.
Unfortunately, many live stream platforms don’t archive the content, so if you miss it live, it’s gone (another reason to watch these streams!). But plenty of great covers have remained online. Check ’em out below, and let us know in the comments what others we shouldn’t miss. Continue reading »