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!
Confession: I was not happy when Everything But the Girl traded in their jangly, moody, melodic guitar pop to “go electronic” in the mid-’90s. While I wouldn’t equate it to what Dylan purists apparently felt when he infamously decided to “go electric” back in the ’60s, my eternally ’80s teen self thought it sucked and felt downright betrayed. EBTG had been one of my absolute favorite bands, and here they were forsaking their nerdy identity to go hang with the cool kids, leaving behind the introspective and geeky brethren and sistren who loved them.
The song that changed it all, “Missing,” began its life innocently enough. It was just another perfectly constructed, poetic and winsome track on an album that was chock-full of them, 1994’s Amplified Heart. This original version was released as a single, but only got as high as #69 on the UK pop chart. Then, in 1995, this crazy thing happened. The duo gave the track to DJ-Producer Todd Terry to remix for club play. But calling it a “remix” is underselling what it really was: a resurrection. Terry expertly sculpted “Missing” into an sleek, housed-up, heartbreaking dance anthem for the ages. It sold millions of copies all over the planet and has since become a permanent fixture on every “Best Songs of the ’90s” playlist in existence.
The success of “Missing” paved the way for the duo’s stylistic shift from earthy acoustic sounds to cooler electronic ones. The duo debuted the updated sound on their very next album, 1996’s Walking Wounded; its heartbreaking charms were undeniable, and all it took was one listen for me to fall back into the fold of hardcore EBTG fandom, never to depart again. Tracey (Thorn) and Ben (Watt) were still EBTG, after all, and the songs were as regal, poetic, and beautiful as they had ever been, even in this new and different guise (inside joke there for you EBTG nerds), a guise they maintained until they decided to close the book on the EBTG partnership in 2000 and just focus on their respective solo endeavors.
Now the reason I bring all this history this up is to note that pretty much all of the covers they did were recorded before this famous stylistic change; hence, their sound harkens back to the jangly days. Fact is, they pretty much stopped doing covers once they started exploring the electronic/dance side of things. So by default, the best EBTG covers all happened during the era we’ll call EBTG b.c. (before clubland), as opposed to the latter-day incarnation, EBTG a.d. (after dance).
In keeping with the longstanding tradition of all pop music ever, the most popular EBTG covers aren’t necessarily the best ones. Their cute ‘n’ groovy version of Cole Porter standard “Night And Day” and jaunty run-through Simon & Garfunkel’s “The Only Living Boy In New York City” are nice, as is their duet on Tom Waits’ “Downtown Train.” But if you want to hear EBTG at their interpretative best, swivel the chair around from the openly cool, famed and critically acclaimed and cast an ear toward the unabashedly POP heartbreakers–Mom favorites and oddball deep cuts. Let’s get driving…
Continue reading »
Tanya Donelly has a long history, as both singer-songwriter of Belly and solo artist, of interweaving emotionally charged originals with covers similarly forged from despair, heartbreak, and loneliness. The results have frequently been sublime, as when she complemented “Gepetto” with a heartfelt version of Gram Parsons’ “Hot Burrito #1” on the Gepetto EP of 1992, or when she accompanied “New England” and “Days of Grace” with an equally fervent rendition of the Beatles’ “Long, Long, Long” on 2006’s This Hungry Life. The covers have usually taken the backseat as B-sides and deep cuts, or as contributions to tribute albums to the likes of The Smiths or 
