Props to any musician who chooses some non-obvious tunes for their Christmas album. Even Joni Mitchell’s “River” has so often been served as the “surprise” holiday song by now that it feels pretty played out. Andrew Bird covers a few standards on his upcoming Hark! – “Oh Holy Night,” “White Christmas” (though weirdly not the hymn that gave the album its name) – but makes room for some seasonally-appropriate fare John Prine, Handsome Family, and, on the first single, John Cale.Continue reading »
Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.
Here at Cover Me Q&A, we’ll be taking questions about cover songs and giving as many different answers as we can. This will give us a chance to hold forth on covers we might not otherwise get to talk about, to give Cover Me readers a chance to learn more about individual staffers’ tastes and writing styles, and to provide an opportunity for some back-and-forth, as we’ll be taking requests (learn how to do so at feature’s end).
Today’s question, from staffer Jordan Becker: What’s a great cover of a cover? Continue reading »
In 2019, Cover Me wrote about more new covers than in any year in our 12-year history. I know; I checked the numbers. Our News team wrote amazing stand-alone stories on sometimes tight deadlines, adding context and research beyond “here’s a new cover” quickie. Plus, we rounded the best of the best into monthly 30+ lists, and added even more for supporters of our new Patreon. Even our Features team, who ostensibly couldn’t care less whether a cover came out last month or last century, seemed to be constantly finding new things to slip into their deep dives.
The point here is not to toot our own horn… well, that’s not entirely the point. What I want to do is emphasize just how high the bar to appear on this list has been set. Calling these covers great almost does them a disservice. There were way more than 50 great covers in 2019. In fact, we’ve already got 150 more bonus tracks lined up for Patreon supporters (which, I know I mention it a lot, but it’s how we keep this site afloat, so please consider supporting us if you like what we do). Honestly, we could throw all of the above in the trash and still come up with a pretty impressive batch of 2019 covers. But these 50 below – these are the cream of the crop, the belles of the ball, the toppermost of the poppermost.
You won’t agree. I guarantee it. As you go through this list, there will be at least one cover you hate. Maybe more than one. And if you followed cover news yourself this year, you’ll probably be outraged when a personal favorite placed too low, or didn’t make it at all. Great! That’s the beauty of these lists: It’s all opinion. Extremely educated opinions in our cases – I can pretty much guarantee that we collectively listened to more 2019 covers than any other site out there – but opinions nevertheless. So dive in and discover something new. Then help us discover something new by adding your own favorites in the comments.
With their surprise success “Africa,” Weezer delivered easily the biggest cover-song news of 2018. And they similarly seemed poised to dominate this year’s cover-album news when they dropped a full set of similar songs in January (that album’s not on our list, because it is – and I say this as a fan for going on 20 years – terrible).
Thankfully, that album got forgotten about five minutes after its release. A slate of other high-profile cover albums took its place, and delivered more staying power. Angelique Kidjo, Morrissey, and Juliana Hatfield all released covers albums, and a host more stars contributed in one way or other to tribute compilations, from Norah Jones and Margo Price covering Bobbie Gentry to Courtney Barnett and Kurt Vile tackling Wilco. Some of the aforementioned made our list and some just missed it, but all are worth investigating.
That’s to say nothing of the many lesser-known artists who came out of nowhere, amazing covers records by bands and singers I’d never heard of before. Covers albums can offer a wonderful entry point for discovery, and I’ve now got a lot of new favorite bands to dig deeper into. Hopefully you’ll find a few here too.
Nine years after The Bird and the Bee’s first cover album, Volume 1: A Tribute to Daryl Hall and John Oates, Volume 2 has arrived, and let me tell you, it is worth the wait. The duo had me when they released “Ain’t Talking ’bout Love” as a single. (If you haven’t seen the live version with Dave Grohl on drums, stop everything and watch it here.) With “Ain’t Talking ’bout Love” released ahead of the album, along with “Panama” and “Hot for Teacher,” I was worried that we had already heard the juiciest covers from the album, but the rest of the songs do not disappoint.
Why would the jazz-based electro-pop duo choose Van Halen for their latest tribute? Well, they already made a shout-out to David Lee Roth in their song “Diamond Dave,” from their 2009 album Ray Guns Are Not Just the Future album. They bring it back here, covering their own song to round out their tribute album. Plus, it helps that The Bird and the Bee, of Los Angeles, are practically neighbors of Van Halen, originally from Pasadena.
Since the cover-ers and the cover-ees come from very different musical genres, the pairing is a compelling one. Replacing Van Halen’s heavy electric guitar with a mixture of synths and more traditional piano, and changing the original vocal style from gravelly rock, to a smoother and sultry jazz vibe, The Bird and the Bee create another instant classic tribute album.
In Defense takes a second look at a much maligned cover artist or album and asks, “Was it really as bad as all that?”
Reasons abound for maligning Pat Boone’s career in popular music. The catalyst for his career was a string of covers of R&B tunes by black artists for whom the legacy of segregation never afforded the same amount of wealth. White artists made substantially more than their counterpart artists of color. Major record labels had larger distribution chains, promotional budgets, and stronger connections to radio and television networks to advantage their artists. By contrast, black musicians on “race records” benefited from none of these privileges. While artists like Little Richard, Big Joe Turner, and Fats Domino have enjoyed staying power and wide acclaim for being architects of rock music, in the early decades of that genre, white covers were commercially more successful. Added to this was the exploitative nature of covers on larger labels that made more money than the originals while paying out no royalties to the black originators. Boone was unapologetic that his career benefited from this exploitation.
It is also noteworthy that Boone’s performance and lyricism of some of rock’s first generation of are a case study in the sanitized tastes of the burgeoning white middle class in the 1950s. His smooth vocal delivery was reminiscent of crooners rather than the raspy, full-throated yowl of Little Richard. And the lyrical changes on “Tutti Frutti” were a nod to teenage infatuation stripped of any of the sexuality in Little Richard’s original.
Despite Boone representing the residuals of white privilege while Jim Crow reigned supreme, there is a note of appreciation to be made for Boone and contemporaries Elvis Presley and Bill Haley in helping to extend the reach of rock music to new audiences at a critical juncture in that genre’s history. Continue reading »