Dec 012023
 

Blimey, but hasn’t George Ivan been busy. He’s churned out four albums in the past three years; Accentuate the Positive is the second one this year to catch our eye. If Moving On Skiffle was his skiffle album, Accentate the Positive is Van Morrison’s homage to rock and roll, or the roots thereof. A wedge of tunes largely from the late ’40s into ’60s, this is the the sort of stuff that must have caught his ear as he was starting off himself, as a fresh faced r’n’b shouter from Belfast. And once more, by making this a parade of idiosyncratically offered cover versions, he avoids the problem that his recent streak of original material had in spades, that of his bluntly critical lyrical bombast. Which I, for one, salute, as this is mostly a joyous set of songs.
Continue reading »

Sep 152023
 

Van Morrison, very sadly, is no longer Van The Man. More Van the Curmudgeon. But curmudgeon doesn’t rhyme. However, Van the Also-Ran does. A bit harsh? Maybe. Though a procession of erratic (and, in the case of Latest Record Project: Volume 1, irascible) albums, probably since 2016’s Keep Me Singing, hardly offer a robust defense.

Oh, but when he was The Man, he was good. Real good. In his ’70s pomp Van Morrison was on a whole other wavelength (if you will). High on that amorphous thing we call soul, he made us high too on the likes of Moondance, Tupelo Honey and Veedon Fleece. And then there was Into the Music, a collection that accommodated the instantly irresistible “Bright Side of the Road” and “Full Force Gale,” as well as the deeper dives “And the Healing Has Begun” and “It’s All in the Game.”
Continue reading »

Sep 072023
 

In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.

Jimmy Buffett covers

When news spread on September 2nd that Jimmy Buffett had passed away at age 76, Parrotheads everywhere were consoled by Radio Margaritaville, the popular SiriusXM channel created by Buffett 18 years ago. Caller tributes and recent live concerts continued through Labor Day weekend to celebrate the remarkable career of the Son of a Son of a Sailor who left port for the last time to parts unknown.

Buffett leaves behind a legacy that began as a vibe and evolved into a billion-dollar entertainment and business empire built over five decades. The legendary songwriting-singer and tireless concert performer created an amazing body of work blessed with commercial success. Over 30 studio albums (17 going gold, platinum, or multiplatinum) were produced, along with another 30 compilation, live, or specialty albums, and 67 singles. Covers, in their various forms, were a significant part of Buffett’s repertoire; nearly 100 of them are listed on SecondHandSongs.com, the popular website that keeps track of such things.

Buffett, along with his Coral Reefer Band, successfully developed the “Gulf & Western” island-influenced musical genre into its own casual lifestyle brand. While not always critically admired, the music’s popularity is undeniable.

Let’s raise a mast and look out over the horizon at Buffett’s most interesting cover choices from his storied career…
Continue reading »

Jul 112023
 

Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.

Kevin Rowland

Under whose radar?, shout all the UK readers, as Dexys frontman and brand identity Kevin Rowland truly struggles hard to stay out the spotlight in his own land. (OK, struggles may be a stretch, he no wallflower in the publicity seeking stakes, as some of his sartorial choices all too brashly display.) His right to crave our attention today is twofold. You may have enjoyed our recent best one-hit-wonders covers of the ’80s extravaganza, here if you missed it, but, his presence came at some price, our US contingent knowing nothing much of him beyond drunken dance floor filler “Come On Eileen.” A fair old transatlantic barney took place around his right, or otherwise, to appear. Here in the UK, Rowland has been suffering for his art for nearly 45 years (voice from the back: So have we! Yes yes, hilarious, go away now), and we have borne witness to much, much more. (To be fair, longtime readers may recall a 2013 In Defense piece that popped up here, and might have alerted you to all of this. Forgive a little duplication.) But time’s old jet plane is still moving, and there is now an announcement of some forthcoming new, an all new album and a tour for the autumn.

Does any of that sound snarky? It shouldn’t, as I have utmost respect for Rowland and his ever-changing moods, even as, on occasion, he has strained both the credulity and the patience of his audience. I think he’s great, and have even the deemed dodgiest of his output proud on my shelves. I had tickets for his cancelled tour of last year, which a Dylanesque motorbike accident put paid to. A pity, as that was his opportunity to present the revisited remastering of his moment of most fame, 1982’s Too-Rye-Ay album, which spawned the song so loved and hated by Eileens everywhere. Unable to fulfil, give or take a book by then fiddle player Helen O’Hara, who had been re-recruited for that tour, he has, as ever, moved on to new climes. I can’t wait, but, until then, catch a handful (and some) of his influences, disguised as just covers. (Believe me, there is no such thing as “just a cover.”)
Continue reading »

Mar 242023
 

Five Good Covers presents five cross-genre reinterpretations of an oft-covered song.

Til I Gain Control Again

If everything about Rodney Crowell were forgotten save for “‘Til I Gain Control Again,” he wouldn’t be forgotten at all. Which is a clumsy way of saying that this long-established writer, singer and performer, the author of a mighty, mighty tome of material, can sleep content in the knowledge that he has written at least one stone-cold classic.

Mind you, for the purposes of this piece, let’s not forget that the original iteration of this beauty came via the incomparable throat of Emmylou Harris. It made for the show-stopping side one closer on her second record, Elite Hotel. While she and Crowell have played a lot of shows together this century, as a double header, way back then he was just one of the hired hands in her incomparable Hot Band. Alongside the players couped from Elvis Presley’s TCB band, James Burton and Glen D. Hardin, Crowell was the fresh-faced rhythm guitarist who was hired to sing duets with Harris and write some songs. He delivered “Blueberry Wine” for her debut, sufficient reason to be kept on.

It is a relief that the Harris version is the de facto original. Not because Crowell can’t give it a decent going over (he can), but because, were it not, it would be a shoo-in for this selection. We are thus granted five full further versions, all of which cast a slightly different sheen on this quintessential country weepie.
Continue reading »

Mar 132023
 

Well, the last thing anyone would ever accuse Van Morrison of is predictability, so seeing his name and his new album on this particular website shouldn’t surprise as much as it actually does. The famously taciturn Belfast crooner is known, after all, for his own compositions, and he has built up a vast legacy of work over his 60 years of prodigious activity. But every so often, usually to demonstrate his love for the songs he heard in his youth, good Sir Ivan will cobble together a set of standards, usually performed in his own idiosyncratic style, and leave everyone gasping. One such was Irish Heartbeat, a set of trad Irish folk that he made with the Chieftains in 1988; another, 2006’s Pay The Devil, looked (if less memorably) at the country and western songbook. Furthermore, he has dedicated an album to the music of Mose Allison (who appeared with him for that) and made collaborations with bluesman John Lee Hooker and, more recently, jazz organist Joey Francesco.

Indeed, neither is this the first time he has embraced skiffle, that delightfully do-it-yourself style of the late 1950s, wherein UK musicians played an amalgam of trad jazz, blues, folk, gospel and swing, often on homemade instruments. Arguably, it was the punk of its day, with Lonnie Donegan the king of the movement, and other players, like jazz trombonist, Chris Barber, drawn along and into its wake. Those two, along with Morrison, produced a terrific live set, The Skiffle Sessions–Live in Belfast, recorded in 1998 and released two years later. Could this be part two, one might wonder, this time without those elder statesmen, both since deceased? We’ll get to that.

It is true Morrison has been confounding his fan base of late; lockdown saw him never more prolific, with a flurry of albums, some doubles, indulging in a hitherto seldom seen angry commentary of the day. An ardent anti-vaxxer, anti-lockdown and seemingly anti-science, his lyrics chockful of diatribes against those who would restrict his freedoms, bitter polemics of bile, and many erstwhile followers were bemused and bedeviled. Some began to consider him out of touch and out of line, stuck in a rose-tinted past. I know. I was one, writing him off as someone I used to love. And now, fer chrissakes, this!
Continue reading »