Posts Tagged ‘Covers’

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In March 2020, the Nashville-based artist experienced the devastating tornado that tore through much of East Nashville, followed by the global pandemic. Tuttle, who grew up in California and has toured as a solo artist for years, suddenly found herself—along with the rest of the musician community—sheltering at home. She found solace in revisiting favourite songs from throughout her life in an attempt to “remind myself why I love music.” She conceptualized an idea for a record with renowned LA producer Tony Berg (Phoebe Bridgers, Andrew Bird) to be recorded over 2,000 miles apart.

Molly Tuttle’s new covers album, “But I’d Rather Be With You”, is out August 28th and has her taking on songs by The National, Arthur Russell, Karen Dalton, Yeah Yeah Yeahs, Harry Styles, Cat Stevens and more. Here’s her cover of Rancid’s “Olympia, Washington,” which she’s reworked into a twangy rocker. “I used to listen to Rancid and Operation Ivy all the time as an angsty 7th grader, and a couple of friends and I spent many hours learning their songs to perform at our school concerts,” says Tuttle. “Years later, I still love these songs!! When I played a show in Olympia, WA last fall this song was stuck in my head all day so we learned it at sound check and played it in the show. Then in December I showed it to Ketch Secor and we played it on our duo tour — he also sang harmony on this track and sounds terrific.

This song is so good and just makes me super happy for unexplainable reasons.”

From Molly Tuttle’s upcoming covers album “…But I’d Rather Be With You” available August 28th, 2020.

Luke Sital-Singh is a prolific songwriter. Since 2012 he’s released three full length albums and six EPs, and there aren’t any signs of him taking his foot off the accelerator.

Having released his warmly received third album A Golden State last year, he’s continued along his fruitful journey with New Haze, which also happens to be his seventh EP in eight years.

To state the obvious 2016 has been a fairly quiet year for me. Well publicly anyway. Behind the scenes it’s been all about getting my second album sorted and building a new home for it’s release next year. I can’t wait for 2017 to get started so I can show you everything I’ve been working on. We note how rapidly he’s followed his latest album up with yet more EP, but Luke has no interest in slowing down. “Personally, I feel like it’s too slow,” he explains. “I’m of these two minds where I’m going back to the kind of Patreon model and doing something each month, you know, just chucking stuff out there. There’s part of me that loves taking my sweet time and putting records out slowly, making sure they’re great, but it just doesn’t seem a tenable thing for much longer.

“The idea of making a record once a year to make ten or 12 songs shouldn’t really be that difficult,” he affirms. And in theory, he’s right. As a professional musician, what is there to stand in your way other than the music itself?

But as with many of his contemporaries, the old adage of the traditional recording industry is quickly becoming irrelevant and, in some cases, almost detrimental to the singular goal of releasing music to fans. “The thing that’s frustrating about this industry itself, or at least if you’re doing it in a more traditional way, is all the other fluff around it, like setting up the marketing and making sure that the press has it at the right time. That’s what tends to delay things,” he says. Indeed, despite releasing his debut album on Parlophone in 2014, Sital-Singh has stayed loyal to independent record labels and focussed almost entirely on output, rather than pandering to old fashioned release cycles. “If you want to be cynical about it and you look at some of the stats on Spotify – people barely keep streaming until the end [of an album], they listen to four or five tracks and they move on. So, you start to think ‘Should I just do EPs? What’s the point in doing records?’ And then you go, ‘Oh yeah, but no one will write about it if it’s not a record!’”

On New Haze, the Londoner-via-LA has come full circle. Whereas A Golden State was recorded at Jackpot Studios in Portland, Oregon – famously set up by Elliott Smith and utilised by the likes of REM and The Decemberists – and produced Tommy McLaughlin to create a “big and warming” album, using vintage ribbon mics and old Harmony acoustics, this new quartet of songs echoes the approach heard on his early Fail For You and Tornados EPs.

As a little teaser,  I’ve released two new cover recordings today. They are covers of two of my favourite songs – This Woman’s Work by Kate Bush and American Girl by Tom Petty & The Heartbreakers.

Chrissie Hynde (L) and James Walbourne from The Pretenders on stage at OverOslo on June 21, 2019 in Oslo, Norway.

When Chrissie Hynde heard Bob Dylan’s “Murder Most Foul,” the 17-minute elegy he had recorded about John F. Kennedy and surprise-released in late March, she was caught by surprise. “It really knocked me sideways,” she says “It’s so magnificent.”

Like everyone, she was in what she describes as an “odd frame of mind” due to the pandemic-related lockdowns that had gone into effect a few weeks earlier. So with no outside distractions, the song teleported her back to her youth. “It brought back my whole childhood and my past,” she says. “I remembered exactly where I was sitting in the sixth grade at my desk when the news [of JFK’s assassination] came over the Tannoy [P.A.] system. Then I was thinking about Bob and how significant he’s been throughout my lifetime — and everyone’s lives. I’ve gone to see shows of his and there are grown men, older than me, standing up, like, in tears just because he’s there.”

I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends. The First one is off the “Shot of Love” album, “In The Summertime”. We did it from home on our phones. I did the rhythm – sent it to James, he added guitar , sent it back to me, I then put on the vocal , sent it back to him, he put on some back up vocals and organ, then we sent it to Tchad Blake to tidy up. I know you don’t need the behind the scenes details so I won’t repeat myself on the next one. xch

Hynde had planned on hitting the road this spring with the Pretenders, in support of their hard-hitting new album, Hate for Sale, but now she had an empty diary. She’d seen Dylan live a few times with the band’s lead guitarist, James Walbourne, and had remarked to him she would love to cover some Dylan songs.

Hynde and Walbourne released the first installment of what they dubbed their “Dylan Lockdown Series,” “In the Summertime.” Dylan’s version of the track, which appeared on his 1981 LP Shot of Love, was a mid-tempo, harmonica-soaked nostalgia piece. Hynde and Walbourne toughened it up a little with some forceful acoustic guitar, a lusher chorus, and an organ replacing some of the harmonica, as she hung onto his words to fit them to her voice. “I sent James a rhythm track on my phone, he added to it, and I put a vocal to it,” she says, explaining their quarantine-era methodology. “Then we sent it to [engineer] Tchad Blake, who is out in the wilds of Wales, to mix it. I love working with him.”

I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends. – chx

The third in the Dylan Lockdown Series: James & Chrissie’s reading of ‘Standing In The Doorway’ taken from the “Time Out Of Mind”, great album. After she was pleased with the finished product, she started picking more songs. They made Blood on the Tracks’ “You’re a Big Girl Now”sound a little more country and contemplative. They took the gospel-tingedTime Out of Mind number“Standing in the Doorway” and opened the windows on it, making it into something more uplifting. And they interpreted the gentle“Sweetheart Like You,”from Infidels— the album Dylan was touring on when Hynde joined him at Wembley — and made it sound sparse, with just guitar, piano, and Hynde’s voice.

The fourth in the Dylan lockdown series: Chrissie and James’ tender cover of Bob Dylan’s “Sweetheart Like You”

Number 5 of the Dylan Lockdown series: Chrissie and James’ cover of Bob Dylan’s Blind Willie McTell “Blind Willie McTell” is a song titled after the Piedmont blues and ragtime singer / guitarist Blind Willie McTell. It was recorded in the spring of 1983, during the sessions for Dylan’s album Infidels, but was left off the album and officially released only in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. “I just love always discovering new Dylan stuff and discovering old albums,” Walbourne says, on a break from learning the chords to the Infidels-era outtake “Blind Willie McTell” on the piano. “When I saw Martin Scorsese’s Rolling Thunder doc on Netflix, I had no idea [Dylan] was that crazy during that time.”


Hynde and Walbourne uploaded the final entry in their Dylan Lockdown Series, their rendition of “Tomorrow Is a Long Time,” a quiet acoustic folk number that debuted on Bob Dylan’s Greatest Hits, Vol. 2. Hynde and Walbourne kept it acoustic but made it more upbeat with organ and plinking cymbals, even when she sings, “If tomorrow wasn’t such a long time, then lonesome would mean nothing to you at all.” You can hear both her deference to Dylan and how the song is personal enough that she feels comfortable making it her own.

“Everyone goes back a long way with him because everyone has their own personal history [with his songs],” she says. “In his case, it’s very personal, because his songs are so personal. People who are fans of his really are fans. He’s not a lightweight; he’s a heavyweight. He’s been there for a longtime with us, so he’s seen us through many things, and we’ve seen him through.”

She pauses and considers just what it has meant to her to sing these songs. “It sounds like it’d be so easy, but first of all, you’re trying not to sing them the way you’ve heard them over the years because you get locked into that,” she says. “You can’t consciously sing them differently, so you just have to find your own thing. So it’s been an interesting and a fun thing to do. I’m very grateful to have the time to do this, because otherwise I’d be on a tour bus right now.”

she realized that now was the perfect time to pay tribute to a man who had inspired her for most of her life. She had grown up with Dylan’s music and has had the opportunity to pay tribute to him in the past — she joined him at Wembley Stadium for renditions of “Leopard-Skin Pill-Box Hat” and “It’s All Over Now, Baby Blue” in 1984, and she sang a stunning rendition of “I Shall Be Released” to him at his 1992 30th anniversary concert — but she has long wanted to do more. “Any singer-songwriter would like to do every Bob Dylan song they can get their hands on, and there’s thousands to choose from,” she says.

With a catalogue like Dylan’s, there’s so much there,” Hynde says. “I mean, I’m not one of these Dylan … … what do they call them … ‘Dylanologists’ to get on chat lines and discuss every lyric and everything. Although why not? But you know, I’m not into it from an academic, intellectual point of view. I wouldn’t take it in a college course. But if there’s songs I’ve lived through, such as when ‘Like A Rollin’ Stone’ and [similar songs] came on the radio back in the Sixties, they really changed the way songwriting was across the board. Probably even James Brown was affected by him; he started writing songs like ‘The Big Payback.’ And, I mean, Hendrix. Anyway, and so there’s this huge catalogue and you can dip in if you want.” She waits a beat. “And I want.”

That said, she admits that Dylanologists have been keeping her on her toes. “You don’t want to fuck up a Dylan song and have thousands of Dylanologists gunning for you,” she says. When she covered “Sweetheart Like You,” she struggled a little with how she wanted to sing some of Dylan’s words.

“These days, you don’t have to change the gender of a lyric because it doesn’t matter anymore,” Hynde says. “That was always a problem in the past, since sometimes it kind of compromises the song. Like if it didn’t sound right to change, ‘She loves me’ to ‘He loves me,’ let’s say. These days, you can do anything.

“But there was one second verse in ‘What’s a Sweetheart Like You’ that said, ‘She used to call me sweet daddy when I was only a child,’ and I thought ‘That’s gonna be really awkward,’” she continues. “I couldn’t figure out how to make that mine. So I went through the archives of different versions he’s done and found a Spanish translation that had a different verse, so I just used that one. I mean, he sang it in English, maybe it wasn’t the official, and then I thought, ‘Oh, these guys are gonna come after me now and say, “That’s not what he wrote.”‘ But it is what he wrote.”

The Chicago euphoric country soul outfit return to pay homage to Labi Siffre, Brian Eno, John Denver, Kelela & others. Whitney was born from a series of laidback early-morning song-writing sessions during one of the harshest winters in Chicago history, after Julien Ehrlich and Max Kakacek (former members of Smith Westerns) reconnected – first as roommates splitting rent in a small Chicago apartment and later as musical collaborators passing the guitar and the lyrics sheet back and forth. 

Back in February we got the whole band together in Chicago with the idea of recording 2-3 covers to share throughout 2020. Those 2-3 tracks turned into a 10 song cover album called “Candid” out August 14th. Along with this announcement we’re releasing our cover of “Hammond Song” By The Roches. We hope you enjoy it. Stay safe and please continue to remain active and committed to the Black Lives Matter Movement.


Covers have long been an integral part of Whitney’s ethos. Ever since the band first formed in 2014, tackling songs by the Everly Brothers, Allen Toussaint, and more played an important part in the breakthrough 2016 debut ​Light Upon The Lake​. Since then, their takes on NRBQ’s Magnet and Neil Young’s On the Way Home have become live staples, an essential and communal part of their sets. Their love for the music that makes up their deepest influences has always been genuine and tangible.

Following their acclaimed sophomore 2019 album ​Forever Turned Around​, Whitney have decided to return with a loving tribute to songs that have been formative and lasting to the entire band. ​Ca​ndid​is a 10-song collection boasting covers of artists like Kelela, David Byrne, John Denver,​ SWV​, and others but it’s also a band challenging themselves to explore more than their musical comfort zone. Recorded in January and February of 2020 over multiple sessions at Treehouse Studios in Chicago and ​Flora Recording and Playback in Portland​, ​”Candid” f​inally sees the full touring band in a recording studio together.  Whitney has brought their cinematic sound to The Roches’ “Hammond Song.” Whitney’s sound can best be described by the feeling of nostalgia. It makes you long for that one summer and for a sun-drenched drive. If you haven’t had the pleasure of hearing the beautiful harmonies of the original song, be sure to check it out as well!/

Their chemistry exudes throughout the tracklist but it’s especially apparent when they open up the dynamic to their friends, like Katie Crutchfield of Waxahatchee joining John Denver’s Take Me Home, Country Roads. On the cover of the classic, Ehrlich and Crutchfield’s voices merge for a joyous harmony over the chorus. Over eight days at Treehouse Studios, the band would show up in the morning, learn a song together, and choose an instrument, leading to a freewheeling and adventurous atmosphere. Their renditions of SWV’s ’90s R&B heater Rain or David Byrne and Brian Eno’s 2008 track Strange Overtones prove this, as they stretch Whitney into new musical directions.

At its core, Candid i​s a celebration of both the songs Whitney has adored throughout its formation and the band’s evolving bond through years of relentless touring and an enduring friendship.

Releases August 14th, 2020


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Gearing up for the release of Blonde on the Tracks, her album of Bob Dylan covers, Emma Swift has dropped a tender rendition of “Queen Jane Approximately.”

A highlight from 1965’s Highway 61 Revisited, Swift’s cover showcases her delicate vocals over a 12-string Rickenbacker guitar. The video, which features animation and photos by Hugh Hales-Tooke, contains imagery from Dylan’s 1975-1976 Rolling Thunder Revue tour. He appears as a full moon in his iconic whiteface makeup, as Swift views him through a telescope.

“The idea for the album came about during a long depressive phase,” Swift said of Blonde on the Tracks. “The kind where it’s hard to get out of bed and get dressed and present to the world as a high-functioning human. I was lost on all fronts no doubt, but especially creatively.”

“I’ve never been a prolific writer, but this period was especially wordless,” she continued.  “Sad, listless and desperate, I began singing Bob Dylan songs as a way to have something to wake up for. Interpreting other people’s emotions is how I learned to sing and I’ve always enjoyed hearing Dylan’s songs from a female perspective. You can learn a lot about melody and feeling by the way a singer chooses to interpret someone else’s song.”

“Queen Jane Approximately” follows Swift’s cover of “I Contain Multitudes,” the original of which appears on Dylan’s latest album, Rough and Rowdy Ways. Other songs on the LP include the Blonde on Blonde tracks “One of Us Must Know (Sooner or Later)” and “Sad Eyed Lady of the Lowlands,” as well as “Simple Twist of Fate” and “You’re a Big Girl Now” from Blood on the Tracks.

Blonde on the Tracks was first recorded at Nashville’s Magnetic Sound Studio in 2017. It was produced by Wilco’s Patrick Sansone and features Robyn Hitchcock on guitar, Thayer Serrano on pedal steel guitar, Jon Estes on bass and Jon Radford on drums.

From Emma’s forthcoming album “Blonde on the Tracks”: a reimagining of Bob Dylan songs out August 14 on Tiny Ghost Records.

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The Pretenders’ Chrissie Hynde and James Walbourne recorded an atmospheric version of Bob Dylan’s “Standing in the Doorway” for the latest installment of their “Dylan Lockdown Series.”. Chrissie Hynde is keeping busy during this pandemic. She’s a got a Lockdown Series of Bob Dylan covers she’s recorded with Pretenders guitarist James Walborne. This is all in anticipation of the new Pretenders record coming in July. Since I can listen to Chrissie sing the phone book, here are the three covers they’ve done so far.

Like the original version on 1997’s “Time Out of Mind”, the revamped take stretches out past seven minutes, with Hynde softly singing over airy piano, organ, electric guitar and distant percussion. They paired the song with a video full of vivid shots of farmland, train tracks and raindrops trickling down window panes.

“Thanks one more to Tchad Blake on mixing duties and the whole Blake family for the video,” Hynde wrote on Instagram of the release, the third in their series following “In the Summertime” and “You’re a Big Girl Now.”

The Dylan covers precede the Pretenders’ upcoming 11th studio LP, “Hate for Sale”, out July 17th. The album features the previously issued title-track, “You Can’t Hurt a Fool” and “The Buzz,” the latter of which they paired with a surreal video.

I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends.

The First was off the Shot of Love album, In The Summertime. We did it from home on our phones. I did the rhythm – sent it to James, he added guitar , sent it back to me, i put on the vocal , sent it back to him, he put on some back up vocals and organ, then we sent it to Tchad Blake to tidy up. I know you don’t need the behind the scenes details so I won’t repeat myself on the next one.

Hynde and Walbourne co-wrote all the songs on Hate for Sale, the Pretenders record in over 21 years to feature founding drummer Martin Chambers.

At the core of Neil Young’s catalogue is the belief that art has the power to transform the world around us: whether he is speaking truth to power, highlighting the injustices he sees in our society, or using his platform to elevate the voices of those who are not as fortunate as himself, Young has come to signify a certain kind of relentless optimism in the face of a very harsh reality.

Right now, we sorely need this sort of optimism. The Trump administration’s commitment to denigrating, brutalizing, and criminalizing immigrants has reached a fever pitch with the family separation policy. Although the practice of family separation has reportedly been halted, there are still thousands of children that have been lost by DHA.


TFN is excited today to premiere this new video from New Hampshire’s Rick Rude. The track is their version of Neil Young’s “Everybody Knows This Is Nowhere,” which can be found on the new release “Look Out For My Love: A Neil Young Covers Album to Benefit RAICES”. Their track is a highlight from the compilation and should also get you geared up to hear some more new music from the band!

The compilation features 18 tracks from different indie musicians, that not only includes Rick Rude but Lung, Halfsour and Adult Mom (which contributed an excellent version of “Harvest Moon.”) All funds raised by this compilation will be donated to RAICES which is a nonprofit that provides free and low-cost legal and social services for immigrants.

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Who doesn’t love cover songs? The aptly named ‘Covers’ album features Surfer Blood covering some wildly disparate artists like Outkast, Pavement, Cream, Mudhoney, Modern English, and of course Polaris (aka, the theme-song from The Adventures of Pete & Pete).

This one time pressing is limited to 1000 foil-numbered copies on amber vinyl with black splatter, and includes instant download of MP3 and WAV.

This release is not available via record stores. The only way to get your hands on this bad boy is to order from JNR, or catch the band on tour. “Good Enough” Mudhoney Cover by Surfer Blood off ‘Covers’ out on Joyful Noise Recordings.

A collection of covers we’ve recorded over the years. Limited Edition!
Released October 18th, 2019

Supergrass recently released a cover of The Police’s “Next To You” (the lead track on Outlandos d’Amour) and now here’s Juliana Hatfield covering the same song. It’s like when we got two asteroid/meteor movies in 1998! In Juliana’s case, it’s part of her upcoming Juliana Hatfield Sings the Police tribute album that’s out November 15th. “Their recording of it is so perfect in its imperfection,” Juliana tells Billboard. “It’s unpolished and raw. That whole album sounds like three guys bashing out a song in a room together. So I didn’t even want to attempt to do a rocking version of it like that. I don’t want it to be compared to the original. There’s no way I could come close. So I just went in a completely different direction and slowed down to half time

Nearly a year and a half after Juliana Hatfield released an album of Olivia Newton-John covers, she’s back with a set dedicated to another act that inspired her — Juliana Hatfield Sings the Police, whose vibey cover of “Next to You” is premiering exclusively below “I still don’t know exactly what I’m mining with (the covers albums) — I’m sort of going back and exploring my formative years, I guess,” says Hatfield . “The Police and Olivia Newton-John were things that I loved when I was an adolescent and coming into myself and discovering music, and my own music. So I’m just exploring my past, I think, as I come more and more into myself — but it’s hard to answer why.”

The Blake Babies and Lemonheads alum did release an album of original songs, Weird, earlier this year, and she says the covers sets provide a bit of valuable creative respite. “Whenever I make an album of my own songs, at the end I feel so depleted,” Hatfield explains. “I feel like I’ve said everything I have to say and will never write another song. But I don’t want to stop making music. That’s when I go and start looking at other people’s stuff…so I can keep working. Recording covers is like a working vacation. It’s fun, and it also informs my own stuff afterwards.”

The Police, Hatfield says, were an adolescent fixation, attracting her with their blend of pop, punk and jazzy touches and helping introduce her to reggae. Choosing a dozen tracks to interpret was no easy feat; In fact, Hatfield says she could probably manage a second volume of Police material along the way. But for Sings the Police, due out November. 15th, she “just chose stuff that pleased me the most,” included hits and deeper cuts such as “Hungry For You,” “Canary in a Coal Mine,” “Hole in My Life,” “Murder by Numbers” and “Landlord.” “I went with stuff I thought sounded cool or that seemed relevant,” Hatfield explains. “Something like ‘Rehumanize Yourself’ seems very modern and current in its subject matter. ‘Canary in a Coalmine’ is so fun to sing and play. I was really just indulging my whims.

“Obviously I wanted to put my own stamp on them,” she continues, “but the structures and foundations are so solid that it’s fun and kind of easy to get inside them and mess around and remold them. Even if you dig into them and break them apart, they’re not gonna break. They bend real easy.”

“Next to You,” the first track from the Police’s 1978 debut album Outlandos d’Amour, presented a challenge for Hatfield, however. “It really was an intuitive reworking of that,” says Hatfield, who abandoned “an awful ’80s metal ballad” version of the song before settling on this version. “Their recording of it is so perfect in its imperfection. It’s unpolished and raw; That whole album sounds like three guys bashing out a song in a room together. So I didn’t even want to attempt to do a rocking version of it like that. I don’t want it to be compared to the original. There’s no way I could come close. So I just went in a completely different direction and slowed down to half time.”


Hatfield has had no feedback on the album yet from the Police camp (Newton-John full endorsed her album last year) and plans to continue the cover sets as a series between original albums. She’s currently on break from touring, which she’s using as an opportunity to do some songwriting before going back on the road in January. “When that tour is over I’ll start to think about recording something,” she says. “The Olivia Newton-John album definitely had an impact, so I’ll be interested to see what (the Police) album brings out of me now.”

This August, Texas bands’ Lomelda and Hovvdy head out on a U.S. tour together. Ahead of their trek, they’ve shared a new EP where they cover each other’s songs. “Covers” also includes a new collaboration called “🙂.”

A cassette edition of Covers is forthcoming (via Double Double Whammy). All proceeds from the cassette will go to RAICES, a nonprofit that provides low-cost legal services to immigrant children, families, and refugees.

Lomelda is the recording project of Silsbee, Texas musician Hannah Read. Her latest album, “M for Empathy”, came out this past winter.

Charlie Martin and Will Taylor comprise the Austin-based Hovvdy. They released their album “Cranberry” in February 2018.


Released June 28th, 2019

performed & recorded by each artist in their homes
saxophone on “out there” by Tennyson Strano