Bob Dylan has never exactly been a loquacious interviewee. From the ’60s, when he would spend interviews mocking the press, to the ’10s, where he rarely bothers giving interviews at all, comments from Bob on any given subject are usually relatively few and far between. But I was curious, as we prepare to launch our 100 Best Bob Dylan Covers Ever list on Monday, what Dylan covers has the man himself remarked upon?
Dave Richardson – Bright Phoebus (Lal & Mike Waterson cover)
Vermonter Dave Richardson digs deep into folk-rock history on his new album Palms to Pines, covering the title track of Lal & Mike Waterson’s 1972 album Bright Phoebus. Deeply obscure at the time – only 1,000 copies were initially pressed – it became known as “folk music’s Sgt. Pepper” among the very, very few people who actually heard it. The record has seen a recent resurgence with champions like Arcade Fire and Jarvis Cocker leading to a 2017 re-release on überhip Domino Records. Richardson makes it sound like a classic all along.
U2’s songs, especially in the ’80s, are distinguished by their wall of sound, with numerous Edge guitars creating an unmistakable signature. For 1987’s acclaimed The Joshua Tree, they added the sounds of American roots music to this stew. “I Still Haven’t Found What I’m Looking For” captures this fusion about as well as any song they did around this time – with The Edge’s trademark ringing guitar plus Bono’s gospel-inspired vocals and the backing vocals mimicking a church choir. Some slide guitar at the end adds an unmistakably American sound to the Irish band.
They Say It’s Your Birthday celebrates an artist’s special day with covers of his or her songs. Let someone else do the work for a while. Happy birthday!
There are few bands with such a way with covers as the Cowboy Junkies, that in no small part to the icy warmth of singer, Margo Timmins, an astonishing 60 this month. She was born in Montreal, 1/27/61, and I have long been a fan, maybe not from the very start, but certainly once ‘Trinity Sessions’ threw down the gauntlet, quietly and emphatically. Birmingham Town Hall, in the English midlands, used to be a dreadful venue, any sounds not completely muffled being left free to echo around the pillars, hopeless for any band with any degree of amplification. It has since had a refurb, and has lost, thankfully, that legacy, but the Junkies were perfection there then, every pin dropping with perfect clarity, the most important pin being that of Timmins, an ethereal shimmer filling the gap between the controlled calm of the instrumentation.
In the subsequent years the band, Timmins and her two brothers, Michael on guitar and Peter on drums, along with family friend Alan Anton playing bass, have strayed little from that template. Initially supplemented by the instrumentation of Jeff Bird and others, adding mandolin, harmonica, dobro, steel and fiddle, latterly it would become the core quartet, as blues became as much an influence as country had been before. The band had been started by Michael, a record-hungry youth who had been in bands since high school. Margo had never sung in public before he goaded her to add vocals, and she initially sang facing away from the stage, such was her crippling shyness, echoing the experiences of Michael Stipe and Jim Morrison, two other equally iconic vocalists.
Over a 35-plus-year career, the Cowboy Junkies have produced 18 studio albums, six live albums, and seven compilations, with innumerably more material courtesy their website. (Sadly it seems that much of that rare and archive material in currently unavailable.) Covers have always been a feature; most of their records containing one or two, and they’re staples on tribute projects, to artists as varied as Gram Parsons and Blind Willie Johnson. In 2009, Timmins also found the time to release an all-cover solo album, enticingly entitled Margo’s Corner: The Ty Tyrfu Sessions, Volume 1. She has also added her froideur to any number of other artists, as a backing or additional singer, usually to fellow Canadians.
Let’s drill down into some of the best examples of her transformative skills, starting with perhaps the best known and, arguably, the best example.
Over our time tracking cover songs (13 years this month!), we’ve written about hundreds of new tribute albums, across reviews, news stories, and, when they’re good enough, our best-of-the-year lists. We also have looked back on plenty of great tribute albums from the past in our Cover Classics series. But we’ve never pulled it all together – until now.
Today a double album’s worth of material is being released to celebrate the U.K.’s legends of glam rock – Marc Bolan and his band, T.Rex. Coinciding with the group’s long-overdue induction into the Rock & Roll Hall of Fame in November, AngelHeaded Hipster (its name culled from Allen Ginsberg’s famous poem, “Howl”) features 26 covers of classic T-Rex songs by a diverse collection of artists ranging from Kesha to King Khan and U2 to Nick Cave.
AngelHeaded Hipster is produced by the late Hal Willner – who sadly passed away from complications from Covid-19 this past April. In the liner notes, Willner said, “As I was listening and getting familiar with all of Bolan’s work, I discovered that this guy was actually a great composer…I put him in the same pantheon as other composers that I’ve explored before (Kurt Weill, Thelonious Monk, Nino Rota, etc.). So, the concept for the album became to show Bolan as a composer…”
And he goes on to do exactly that.