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.”

A perfect example is his way-out-there version of one of Blink’s biggest hits, “All the Small Things.” Like most Blink songs, the original version is short and snappy, coming in under three minutes. B.E.N.’s version, on the other hand, nearly tops ten. And if you didn’t know the concept going in, you might make it a ways before you realize what you were listening to.

“All The Small Things” is one of the more powerful melodies of my childhood; hilarious I know considering that Blink-182 had such sophomoric humor, but I think its a tune that is pretty indicative of my personality/approach to making music. It is bursting with energy and (perhaps misguided but who cares) optimism. This particular rendition of the tune ends up being fairly long because of the ending. On Blink’s original recording, there is a false ending where the lyric goes “the night will go on, the night will go on, my little windmill.” So Blink repeats “the night will go on” twice and B.E.N repeats “the night will go on” 182 times. I thought this would be a joke that Blink would appreciate. Also something something about how this particular music they created will go on forever in terms of its influence on an entire generation of songwriters, musicians, skaters, and American Pie fans (first two films only).

Listen to B.E.N.’s “All the Small Things” exclusively below. The full Benema of the State record drops tomorrow.

Jul 312017
 
dont stop believing covers

When people argue over the Worst Song of All Time, inevitably someone will mention Journey’s (in)famous “Don’t Stop Believin’.” If Starship had never built that city on rock and roll, it would probably take the crown.

Frankly, I like other Journey songs, but “Don’t Stop Believin'” deserves most of the hate it gets. Its ubiquity on class rock radio, bad karaoke stages, and every college a cappella group that ever donned bow ties has made in insufferable (thank the Glee cover inexplicably going to #4 on the charts for the last one). Even The Sopranos couldn’t give it a coolness bump. It is not only Journey’s biggest song by a mile, it’s one of the most well-known songs of the 1980s, period.

The funny thing is that when it came out, not only was it not Journey’s biggest hit, it wasn’t even the biggest hit on that same album. “Open Arms” off Escape went to #2. “Who’s Crying Now” went to #4. “Don’t Stop Believin’,” meanwhile, barely scraped its way into the top ten.

Escape turns 36 this week, which might occasion a Full Album if anyone ever covered any of the other songs off it. But they don’t. They only cover “Don’t Stop Believin’.” Continue reading »

Jul 282017
 

Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!

sly and the family stone

Sly and the Family Stone hadn’t recorded anything new in a year, and the record label wanted to keep his name in the public consciousness – and if they could make a little money in the bargain, so much the better. So they put together Sly and the Family Stone’s Greatest Hits. If not a cynical cash grab, it was at least within smelling distance.

But a funny thing happened – they scooped up some of the best singles of the sixties, when Sly Stone was writing songs emphasizing the coming together of all races, creeds, and colors into one big party, and the result was what Robert Christgau called “among the greatest rock and roll LPs of all time.” In his A+ review, he went on:

The rhythms, the arrangements, the singing, the playing, the production, and–can’t forget this one–the rhythms are inspirational, good-humored, and trenchant throughout, and on only one cut (“Fun”) are the lyrics merely competent. Sly Stone’s gift for irresistible dance songs is a matter of world acclaim, but his gift for political anthems that are uplifting but never simplistic or sentimental is a gas. And oh yeah–his rhythms are amazing.

Continue reading »

Jul 272017
 

A few years ago I attended a musical variety show with bunch of artists playing a few songs apiece. Eric Bazilian, frontman for ’80s new-wave band The Hooters, played a couple Hooters hits for his set before closing with a surprise cover: Joan Osborne’s “One of Us” (as in, “What if God was…”). His version was revelatory, loud and rocking and fun, a far cry from the self-serious lite-FM ballad that dominated airwaves in the mid-’90s. It totally reinvented the song, doing everything a great cover should.

I only learned later that it was not, in fact, a cover. Bazilian in fact wrote the song for Osborne, never properly releasing it himself. But his version made me reappraise a song I had grown to hate through overexposure (no knock on Joan, a talented song-interpreter on several terrific soul-covers albums who gets unfairly tarred by the “one-hit wonder” brush). Continue reading »

Jul 262017
 

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: What’s your favorite Disney cover?
Continue reading »

Jul 262017
 
mark bryan hootie

Mark Bryan wears many hats. Best known as the guitarist co-founder of Hootie and the Blowfish, he also runs an after-school music program for kids and just won an Emmy for producing the PBS music series Live at the Charleston Music Hall. He’s lived in South Carolina for decades, and a concert there when he was in college inspired a track on his new album. It’s a good story, so we’ll let him tell it: Continue reading »