Posts Tagged ‘Covers’

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

Hello, It’s me. My new EP is finally out. It features my versions of songs by Crosby, Stills & Nash, Big Star, Neil Young & Jackson Browne. You can read a bit more about how each song came about down below.

Just A Song Before I Go,

I just love this song. It’s an effortlessly good driving song, perhaps owing to the fact that Graham Nash wrote it whilst in a taxi to the airport after his driver bet him he couldn’t write a song during the 15 minute drive.

Late for the Sky
What can I say? This is one of the greatest songs ever written. I’ll always remember my first time traveling to San Francisco and stumbling into a free festival only to find myself watching Jackson Browne, my favourite songwriter, singing this song to thousands of people. Since then I can never travel through the US without this tune ringing through my head.

Harvest Moon
For the longest time people would say my voice was reminiscent of Neil Young and I’d nod and say thanks having only the slightest idea of who they were talking about. Eventually I thought I should probably listen to his music. Harvest Moon was the first song I ever heard of his and I’ve never looked back. It was like discovering my primary musical influence long after I’d started writing songs. A bizarre experience but one I’ll never forget.

I came late to Big Star. Like real late. My manager turned me onto their first album ‘#1 Record’ and I was hooked instantly. There’s just something effortless about the songwriting and timeless about the recordings. As cliché as it sounds it’s always the slower acoustic ballads that jump out at me on rock records and Thirteen is one hell of a ballad. This entire record is my go to driving album. The first thing I put on when starting another long drive to the next place.

Lydia Loveless has become one of my favorite female artists around today. Her brashness combined with her heart-on-the-sleeve lyrics always reminds me of songwriters like Paul Westerberg. Bloodshot Records just re-released the EP where it all began, Boy Crazy, along with six other tracks including covers of Prince, Elvis Costello and Kesha. Nothing filler about any of this. If you are a fan of Lydia, this is a must own.


Boy Crazy is Lydia Loveless’s “rock and roll tribute to baseball pants and youth.” Featuring sun-washed, rebel-powered pop songs presenting a conversation about judgment and loss of innocence, as one transitions from good old American naivete to you-should-know-better “wisdom.” These songs see Lydia and her incredible band roping in their signature twangy, pedal steel-laden rock beat-em-ups and tying them tightly with the crisp Southern air of Tom Petty and the Heartbreakers’ Damn the Torpedoes and the snarling-but-sweet delivery of Juliana Hatfield’s heyday. It’s a summer set that arrives a little tardy this year, just in time to prolong those long, buzz-chasing July days when you hang out where you know you aren’t supposed to. This time, you just don’t care about getting caught.

Some bands make music, some make magic, and some others do both, and there was Fleetwood Mac….
I would love to dedicated this project to the wonderful people of Fleetwood Mac and also, of couse, my thanks to all the bands present on this project.
With love and respect
Renato Malizia


All songs originally recorded by Fleetwood Mac

Fleetwood Mac (1968)
Mr. Wonderful (1968)
Then Play On (1969)
Kiln House (1970)
Future Games (1971)
Bare Trees (1972)
Penguin (1973)
Mystery to Me (1973)
Heroes Are Hard to Find (1974)
Fleetwood Mac (1975)
Rumours (1977)
Tusk (1979)
Mirage (1982)
Tango in the Night (1987)
Behind the Mask (1990)
Time (1995)
Say You Will (2003)

These two covers might not come as a surprise in the way that the Prague ’99 EP was, but having first been heard in sessions for BBC Radio 1, the band’s covers of Sign of the Times by Harry Styles and High and Dry by Radiohead are now out on youtube .

Their version of Sign of the Times, is stripped back affair to piano, double bass and vocals only, whilst High and Dry sees the whole band plus additional vocals from Blaine Harrison (Mystery Jets) and singer songwriter Marika Hackman.

“Here you have two very different covers that mean very different things to us. ‘Sign of the Times’ is a massive song… could be a classic, even. The lad’s got an impressive range and we fancied giving it a crack and keeping it sparse. ‘High and Dry’ however, we wanted to go all out. We were lucky enough to be joined by two amazing musicians (Blaine from Mystery Jets and Marika Hackman) and we tried to keep it close to the original, as it’s pretty perfect as is. It’s a beautiful arrangement and I think you can hear how much we’re all enjoying it in the recording.

Earlier in the week, the band also announced that they’d be out touring Europe with Sundara Karma in December, just after their own headline tour of the UK which includes a date at the O2 Shepherd’s Bush Empire in London. Details of all their upcoming shows,

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After Kyle Craft wrapped up the recording of his upcoming (all originals) 2018 album, he decided to record a cover of a Jenny Lewis song for fun. This quickly spiraled into a full fledged project with Kyle recording a slew of songs by his favorite female singers.  Working with his bandmate, Kevin Clark in their home studio after hours, Craft multi-tracked all the parts himself, and what started as an idle aside became a labour of love.

Now Sub Pop Records and Kyle Craft have picked ten favorites from the sessions to release as Girl Crazy, a series of 2-track singles rolling out weekly starting in September.   Focusing on Kyle Craft’s acclaimed interpretive talents – his version of Bowie’s “Heroes” stole the show at Newport 2017 –“Girl Crazy” introduces audiences, who may know Craft from his Sub Pop debut album Dolls of Highland, to another side of the artist.  The series will run every Thursday through October 5th, and also features covers of artists like Sharon Van Etten, Jenny Lewis, Cher and Patsy Cline.

‘Girl Crazy‘ a collection of covers from Kyle Craft available now

Take What You Need UK Covers Of Bob Dylan Songs 1964-69In February of 1965, Melody Maker asked John Lennon about his enthusiasm for Bob Dylan material and Dylan interpretations. “I just felt like going that way,” he said about the new acoustic guitar-based material The Beatles were then recording at Abbey Road. “If I’d not heard Dylan, it might have been that I’d written stuff and sung it like Dominic Behan, or somebody like that.” Despite the non-committal answer, Dylan’s impact on Lennon was clear .

Out of the public eye, Lennon after being hipped to the album by George Harrison had spent summer 1964 absorbing Dylan’s Freewheelin’ album. All four Beatles smoked cannabis with Dylan. Lennon went further and confessed he’d written “a folky song which I try to sing in a Dylan style. I didn’t want to overdo it, but I like it.

Indeed, The Beatles weren’t the only British pop stars in thrall to Dylan. In openly acknowledging this, they and Donovan had been beaten to the record shops in 1964 by The Animals, whose first two singles – “Baby Let Me Take You Home” and “House of the Rising Sun” – reinterpreted material from Dylan’s first album, issued in 1962. Those were pre-existing songs covered by Dylan but when he began issuing his own compositions they were, in turn, also ripe for covering.

Any of Dylan’s songs were up for grabs and the enlightening, entertaining new 22-track compilation “Take What You Need: UK Covers of Bob Dylan Songs 1964-69” charts the early days of these endeavours on this side of the Atlantic. The oldest track is The Fairies’ version of “Don’t Think Twice It’s Alright”, issued on 31st July 1964. The latest are five tracks from 1969 which range from Joe Cocker to Sandie Shaw, and Fairport Convention to the Tim Rice/Andrew Lloyd Webber-sponsored The Mixed Bag.

Britain, though, was initially resistant to Dylan’s charms. He had been in London at the end of 1962 and appeared on television, as well as live at The Troubadour and other folk clubs. As the fine liner notes say, “few on the British scene were taken with Dylan; most were at best indifferent or, in the case of arch traditionalists Peggy Seeger and Ewan MacColl, completely dismissive.” There was one exception: the open-minded Martin Carthy. He alone was not going to help Dylan’s recognition.

Take What You Need UK Covers Of Bob Dylan Songs 1964-69 The Fairies Don’t Think Twice it’s Alright

So how did Bob Dylan become embedded in the fabric of British pop? The generalised opening of minds and ears integral to Beatlemania is one answer. Playing London in May 1964 helped push Dylan towards the pop, rather than niche folk, market. More specifically, bands like The Animals were blues fans who also liked folk and were on the lookout for material. Cover versions laid the table for the real thing – Dylan himself. Another factor was the high-profile support Dylan enjoyed in America which attracted attention in Britain. Joan Baez’s espousal did no harm and Peter, Paul and Mary’s version of “Blowin’ in the Wind” in June 1963 was a massive US hit. Handily for Dylan, the manager he shared with the latter was keen on cross-collateralisation. It all ensured 1964 became Dylan’s breakthrough year in the UK.

Take What You Need kicks off with The Fairies’ bouncy “Don’t Think Twice It’s Alright”, which features session-era Jimmy Page on guitar. It’s followed by Marianne Faithfull’s Baez-style “Blowin’ in the Wind” (on which Page probably also appears). She sings preciously, as if afraid of the song. The Fairies blast away with nary a care for the nature of the source material. This twin-track approach courses through the compilation: wholesale reinterpretation versus on-eggshells respect for what’s being recorded.

Artistically and commercially, the most successful of the Britain’s Sixties Dylan fanciers were serial Dylan interpreters Manfred Mann, whose still daisy-fresh “If You Gotta Go, Go Now” is sandwiched between the Ian Campbell Folk Group’s gloopy, portentous “The Times They Are A-Changin’” and The Cops ‘N Robbers‘ tense “It’s All Over Now Baby Blue”. Next up is Chad & Jeremy’s limp “Mr Tambourine Man”.

Take What You Need UK Covers Of Bob Dylan Songs 1964-69 Manfred Mann If you Gotta go go Now

As the decade winds on, the mostly chronologically sequenced Take What You Need scoops up some extraordinary obscurities. Alex Campbell’s superb “Tom Thumb’s Blues” balances reverence for the material with spontaneity. Best of all is The Factotums’ romp through “Absolutely Sweet Marie”. Conversely, Cocker’s clod-hopping assassination of “Just Like a Woman” – with yet more Jimmy Page – is almost impossible to listen to.

Take What You Need is a wild ride. And it should be. During the years covered, it was open season on Dylan’s songs. The smooth comes with the rough and, in acknowledging this, the true nature of British musician’s response to Dylan is revealed.

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I think it’s fair to say that Bruce Springsteen tends to get covered more by men than by women. But that doesn’t mean that there haven’t been some great covers by female artists over the years. Indeed, some of the biggest hit Springsteen covers just think of the Pointer Sisters’ “Fire” and Natalie Cole’s “Pink Cadillac” .

Joan Jett, who sang the title song in the 1987 movie “Light of Day,” having been selected for induction to the Rock and Roll Hall of Fame this year, and with this year’s Light Of Day festival , it seemed like a good time to take a look at some memorable Springsteen covers by women.

TORI AMOS: “I’m on Fire”
In the mid-90s, Amos performed this song on the VH1 series, “Crossroads,”

NICOLE ATKINS: “Dancing in the Dark”
Springsteen’s fellow Monmouth County native recorded a moody, atmospheric “Dancing in the Dark” for last year’s Dead Mans Town album, which paid to the songs of Springsteen’s Born in the USA.

NATALIE COLE: “Pink Cadillac”
The Born in the USA B-Side became a Top 10 hit for Cole in 1988.

Etheridge, who has often spoken about Springsteen’s influence on her, turned in a memorable performance of Springsteen’s anthem, with the Boss himself watching, when he was presented with a Kennedy Center Honor in 2009

EVERYTHING BUT THE GIRL: “Tougher Than the Rest”
From the British duo’s often-revelatory 1992 album, “Acoustic.”

From her 2002 album, “1000 Kisses.”

The group had one of the biggest hits of its career with this sultry song — which Springsteen has said he wrote with hopes that Elvis Presley would record it — in 1978.

DONNA SUMMER: “Protection”
This tense, gritty tune sounds like it could have been a Springsteen classic if he had sung it himself, but he never has (or, if he has, he’s never released it). Summer released it on her self-titled 1982 album, which was produced by Quincy Jones.

Country artists have long had an affinity for Springsteen’s heartfelt ballads. Yearwood included this stellar version of “Sad Eyes” — from Springsteen’s 1998 rarities boxed set, Tracks — on her 2000 album, Real Live Woman.


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The Claypool Lennon Delirium returns with 4 cosmically trippy covers of Pink Floyd’s “Astronomy Domine”, The Who’s “Boris The Spider”, King Crimson’s “The Court of the Crimson King” and Flower Travellin’ Band’s “Satori”. Previously a Record Store Day exclusive, this wide release is limited to 3k units.
Ultra clear 10” vinyl with kelly green and double mint splatter (pictured is a mockup only, final product may vary).

The band, led by Primus frontman Les Claypool and Sean Lennon, the son of John and Yoko, turn in versions of songs originally made famous by The Who, Pink Floyd, King Crimson, and Flower Travellin’ Band.

“We were both feeling and hearing something that we wanted to do that was deeply inspired by those people who were the most peculiar in their time, like Syd Barrett “Since we only had one album as a band, we wanted to add songs to the live show that would illustrate and elaborate upon what the Delirium were all about.”

From The Claypool Lennon Delirium’s new EP “Lime And Limpid Green” available on August 4th, 2017 on 10″ vinyl