Aug 112017
 

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

wreckless eric

A few weeks ago, Cage The Elephant released a cover of Wreckless Eric‘s “Whole Wide World,” and a fine cover it is. Hearing it sparked a memory back to the late 1970s when the song was released by the fledgling Stiff Records (where Nick Lowe was the house producer) and became an unlikely “punk” classic. On the one hand, the song has given Eric Goulden a degree of lasting fame, and hopefully years of royalties, but on the other hand, it sadly has overshadowed Eric’s many other wonderful songs, written and performed as a solo artist, as a member of bands, and most recently with his wife, Amy Rigby, a great singer/songwriter in her own right.

According to Goulden, the genesis of the song was, as he wrote in the opening lines:

When I was a young boy
My mama said to me
“There’s only one girl in the world for you
And she probably lives in Tahiti…”

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Aug 072017
 
phish bakers dozen covers

For years, Phish superphans and the band’s many detractors – so far apart on so much else – have been able to agree on one thing: the band does some killer live covers. Phish long ago made a Halloween tradition out of covering another band’s album in full, tackling ambitious choices like the Beatles’ White Album and Talking Heads’ Remain in Light. And “ambitious” was also the keyword for the band’s just-completed thirteen night run at New York’s Madison Square Garden. Dubbed the “Baker’s Dozen,” each night featured a different donut theme and, more significantly, no song repeated the entire two weeks.

But back to the donuts. The band took the silly premise seriously, theming their sets each night around a donut flavor. This led to a number of surprise covers that they’ve never played before (or probably ever will again). Strawberry-donut night got “Strawberry Fields Forever” and “Strawberry Letter 23.” Chocolate-donut night got “Chocolate Rain” and “You Sexy Thing” – originally by Hot Chocolate. They even dug deep into lyrics, playing the one Radiohead song that talks about lemons.

Such first-time-ever covers tend to appeal even to non-fans because they tend to be short and –
let’s keep the donut theme going here – sweet. Unlike a jelly donut, on a song they’ve never play before they rarely jam. Instead, the fun and sheer rock chops to come forward in a way they may not on the heady stuff.

So I’ve ranked all the first-time covers from the past two weeks of Phish’s concerts, below. I’ll admit I’m not a huge fan myself – I once wrote an article defending their home of Burlington, Vermont from its jam-band stereotype – but some of these are among the best performances I’ve heard by them. Others…are not. Continue reading »

Aug 072017
 
sky ferreira easy

Director Edgar Wright’s seat-of-your-pants heist film Baby Driver features a carefully chosen group of songs that are set in perfect time to the action on the screen. City sounds and the movements of the actors and actresses work in time with the music with ease. It’s not often that a soundtrack precedes a movie, but in Baby Driver, it even inspired it.

One of the soundtrack’s standouts is Sky Ferreira’s cover of The Commodore’s “Easy”. Ferreira’s blend of drums, guitar, organ, and vibraphone feels just right reinterpreting the cool, seemingly untouchable vibe of the original. Continue reading »

Aug 042017
 

Some covers are more equal than others. Good, Better, Best looks at three covers and decides who takes home the gold, the silver, and the bronze.

In an era when synth-pop was what ruled the British roost, the opening guitar lick to the Smiths’ “This Charming Man” was an invigorating splash of cool, clear water to the face. The band’s second single, written for one of John Peel’s BBC radio sessions, began with Johnny Marr’s ringing introduction and kept up a bright, danceable pace, while Morrissey crooned lyrics (including a line nicked from the Laurence Olivier / Michael Caine movie Sleuth) that were coquettish, poetic, and different from anything on the charts. “Early Elvis would have approved of the music, [Oscar] Wilde of the words,” writes allmusic.com, “an audacious end result by any standard.”

“I wince a bit when I hear it now,” Marr later said. “It only tells the shiny side of the story, it in no way epitomizes what was good about the band in the long term. But God bless it though, it seemed to catch on with a lot of people.”
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Aug 042017
 
ben gibbard teenage fanclub

A recent trend in the ongoing vinyl revival has been record subscription services, where every month any number of start-ups will send subscribers a few curated records. One such service, Turntable Kitchen, stands out from the pack by commissioning original music: full-length covers of classic albums by younger bands. The service has already released Yumi Zouma covering Oasis’ (What’s the Story) Morning Glory?, Jonathan Rado of Foxygen covering Bruce Springsteen’s Born to Run, and Mutual Benefit covering Vashti Bunyan’s Just Another Diamond Day. Their fourth release is their biggest yet, and also their best. It’s Ben Gibbard of Death Cab for Cutie and The Postal Service covering Teenage Fanclub’s 1991 masterpiece Bandwagonesque. Continue reading »

Aug 032017
 
blink 182 cover

“Unique” is an overused word, so when a press blurb landed plugging an “incredibly unique cover album,” we were skeptical. But if ever something deserved to be called “unique,” a collection of avant-garde jazz covers of Blink-182’s massive 1999 album Enema of the State is it.

Bassist Benjamin Ryan Williams records as B.E.N. so his version is called, naturally, Benema of the State. It’s a concept as dumb and goofy as Blink-182 themselves, but Williams takes the project seriously. Despite appearances, Benema of the State is no novelty album. “The main reason I wanted to [make this record] is because I thought the composition and the melodies are really good,” he said. “It’s to try to recreate the feeling of listening to Blink-182 as a kid, but doing it as an adult playing their music.” Continue reading »