Books Chumbawamba Counting Crows Darius Rucker Dave Edmunds Elvis Costello Feature Grateful Dead Hootie and the Blowfish Jerry Garcia Joe Jackson Lee Hazlewood Nancy Sinatra Nick Lowe Q&A Robert Hunter

Can Artists Cover Their Own Songs? A Cover Me Investigation

Can Artists Cover Their Own Songs? A Cover Me Investigation

Welcome to Cowl Me Q&A, the place we take your questions on cowl songs and reply them to the perfect of our capacity.

Right here at Cowl Me Q&A, we’ll be taking questions on cowl songs and giving as many various solutions as we will. It will give us an opportunity to carry forth on covers we’d not in any other case get to speak about, to offer Cowl Me readers an opportunity to study extra about particular person staffers’ tastes and writing types, and to offer a chance for some back-and-forth, as we’ll be taking requests (find out how to take action at function’s finish).

Right now’s query: What’s your favourite instance of an artist “masking” their very own music?

Patrick Robbins

This can be a query I’ve gone forwards and backwards on. Some days I’m a purist: Did the singer write it? Did the singer carry out it first? If the reply to each questions is not any, then it’s a canopy, Q.E.D. However then I feel, when Paul McCartney sings a Beatles music in live performance, he’s definitely not the identical individual he was when he wrote the track over half a century in the past, proper? When Bruce Springsteen does his acoustic blues model of “Born within the USA,” that’s far more than a re-arrangement, isn’t it? Hasn’t his transforming modified the track utterly – and isn’t that what the most effective covers do?

Whether or not they rely as according-to-Hoyle covers or not, the unique hits might be so enlightening – and so enjoyable – when given new life by the unique artist. Working example: Joe Jackson‘s a cappella model of “Is She Actually Going Out With Him?” Probably as not, some individuals within the viewers solely knew Jackson for his huge hit, and solely got here to see him play it. Properly, he gave the individuals what they needed, however he did it his method, wrapping one thing previous in one thing new and giving the gang a palpable sense of discovery. He launched this on his Reside 1980/86 album, nevertheless it’s much more enjoyable to see a reside model in motion (partially as a result of, like a number of of this video’s commenters, I had no concept that Jackson stood six-foot-three).

Curtis Zimmerman

In his ebook Field of Rain, Grateful Lifeless lyricist Robert Hunter claims that each he and Jerry Garcia wrote the phrases and music to “Terrapin Station” individually on the identical day. The 2 merged their work collectively, and it finally turned the sprawling 16-minute title monitor to the Lifeless’s 1977 studio album Terrapin Station. The work is so complicated, with a number of totally different actions, that the band by no means performed it stay in its entirety.

Hunter recorded a model of the monitor for his 1980 album Jack O’ Roses. He strips away all the studio theatrics of the Lifeless’s piece. As an alternative, his acoustic rendition passes by means of a number of totally different eras of folks music. He provides pages and pages of latest lyrics, channeling medieval people tunes, 19th century practice songs and Homer-style epics. He sings about well-known people music characters akin to Stagger Lee and Peggy-o. He additionally tells the story of “Jack O’ Roses.” Jack travels on an epic quest that passes “East of Eden,” then by means of hell, a lion’s den and “Terrapin.” Listening to Hunter cowl his personal track is like peering into the prolonged universe that exists simply past the Grateful Lifeless’s music.

Whereas Hunter’s 1980 album model is strong, his reside rendition from 2003 provides you the complete impact.

Sean Balkwill

Within the early ’90s, Elvis Costello wrote and recorded “Difficult Shadows” as a demo for the Man in Black. Money handed on the chance, and we have been rewarded with a full rock, balls-out cowl of “Difficult Shadows,” recorded stay at New York’s Beacon Theater and showing on the final album Costello recorded with the Points of interest, All This Ineffective Magnificence.

Wait, what? A canopy?

Sure, at the least in line with my faith. As a result of I contend that each efficiency of a music after it’s initially recorded is a canopy. And I might simply amend that to the primary time it was carried out.

To complicate the shadows much more, a dozen years later, Costello re-recorded the track for his bluegrass album Secret, Profane & Sugarcane. That includes legends reminiscent of Jim Lauderdale and Jerry Douglas, Costello swings again to the unique with a teamwork of twang.

For what it’s value, I just like the rock model the perfect, however on this hearty debate that we cowl lovers have, and maybe differing opinions on this very web page, I feel it’s clear that that is the gospel fact. As Jolie Holland as soon as stated, “In case you are enjoying a track that you simply wrote, then you’re nonetheless masking that track.” Amen.

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The Grateful Lifeless’s “Good friend of the Satan” is only one of at the least six songs from American Magnificence, the largely acoustic crown jewel of the Lifeless’s studio albums, that might grow to be mainstays of the band’s repertoire lengthy after the Lifeless reworked into American’s biggest jamband. Regardless of the protagonist’s bleak prospects of spending his life in jail if the sheriff and his twenty hounds handle to meet up with him, the music has a relaxed, scruffy, virtually buoyant appeal, and it’s one of many Lifeless’s most coated songs.

The distinctive relationship between Jerry Garcia (who co-wrote “Pal of the Satan”‘s music with John Dawson) and David Grisman is introduced in a mild and interesting documentary referred to as Grateful Dawg (2000). Directed by David’s daughter, it attracts on household movies, interviews, and live performance footage to supply an intimate look into the deep friendship and collaborative relationship between the 2 grasp musicians. “They have been born out of the identical cosmic egg,” explains one interviewee. The documentary exhibits their first assembly at a 1964 live performance by bluegrass pioneer Invoice Monroe. It additionally explores the formation in 1973 of their short-lived however stellar bluegrass band, Previous & Within the Approach.

However a lot of the documentary focuses on the camaraderie and interpersonal chemistry between these two bearded, bigger than life, musical geniuses. They often met in Grisman’s front room or basement studio, locations the place Garcia might discard his heavy load because the ironic chief of one of many world’s most well-known bands and “simply be Jerry.” Supported by an skilled rhythm part, they labored onerous to transform already nice songs into superb covers. Bluegrass was all the time their start line, however they might typically attain out to include different musical varieties as properly.

Over the past 5 years of Jerry’s life, David recorded nearly every thing they performed collectively. Acoustic Disc, Grisman’s label, has launched eight collections of those periods. Most are extraordinary cowl tunes, together with two variations of “Pal of the Satan.” My favourite is a slower, cautionary story model from their first album referred to as merely Jerry Garcia/David Grisman (2001.) Grisman offered the mandolin thrives on the unique model of the music from American Magnificence, however right here, he’s Jerry’s full and equal associate.

Jordan Becker

I’m firmly within the camp that believes that an artist doesn’t cowl their very own songs, however as an alternative can interpret them in several methods. Perhaps it’s a distinction with no distinction, however this weblog known as Cowl Me, not Interpret Me, so we’ve got to make some distinctions, proper?

Nick Lowe has run by means of quite a few musical guises in his lengthy profession—a pub rocker as a member of Brinsley Schwarz, “Basher” the producer of early new wavers, a grasp of energy pop, a roots rocker, a rustic stylist, a pop crooner, and most lately, touring with surf-rock eccentrics Los Straitjackets. So it isn’t shocking that he has reworked a few of his songs to suit no matter fashion he was at present enjoying, and “I Knew The Bride (When She Used to Rock ‘n’ Roll)” is a superb instance.

“I Knew the Bride” is a enjoyable music, by which the singer, considerably wistfully, discusses how he remembers when the bride at challenge, who’s marrying a wealthy stuffed-shirt and is now all posh and correct, used to hang around in her denims on the bar, consuming and flirting and dancing and having enjoyable.

The primary model of the track was launched in 1977 by Dave Edmunds on his Get It album (on which Lowe performed bass), and it’s a rootsy rocker typical of Edmunds’ fashion. Later, when Rockpile – which featured each Lowe and Edmunds – appeared stay, they imbued the music with each punk and twang. Then Lowe launched what I’d name a bouncy model of the music on his 1985 solo album The Rose of England, with very dated sounding manufacturing by Huey Lewis, who additionally performs the harmonica and sings background.

However my favourite model is the one which got here out in 1978, on the Reside Stiffs album, from a Stiff Data European tour that additionally featured Elvis Costello, Ian Dury, Wreckless Eric, and Larry Wallis. Billed to “Nick Lowe’s Final Hen within the Store” (though launched on the present as “Nick Lowe’s Led Zeppelin”), which included Edmunds on guitar and Rockpile’s drummer Terry Williams, drummer Pete Thomas from the Points of interest and others, they rip via the music in a messy, ’70s punk approach.

These days, when Lowe trots out the previous chestnut (and it seems to be considered one of his most performed songs), he performs it with extra of Edmunds’ rockabilly tinged sound than his Stiffs Reside power. However it nonetheless is a present stopper.

Frank Minishak

Famed singer, songwriter, producer Lee Hazlewood might be greatest remembered for writing and producing Nancy Sinatra’s iconic primary hit, “These Boots Are Made for Strolling.” Recorded in December 1965, the music bolted to primary in February 1966. By the top of the yr, it was coated at the least two dozen extra occasions, together with this model from Hazlewood’s personal The Very Particular World of Lee Hazlewood album. Right here, the music begins off with acquainted instrumentation and the “psychedelic cowboy’s” recognizable baritone – however so far as covers go, excluding some storytelling and punched up horns later within the monitor – it’s arguably unremarkable.

The identical can’t be stated for what Hazlewood would do forty years afterward his remaining studio album. On 2006’s Cake or Dying, he would staff up with previous recording associate and Rock and Roll Corridor of Famer Duane Eddy, for a coolly reimagined, swinging roots rock model, referred to as merely “Boots.” The raspy-vocalized monitor that includes ballsy brass and Eddy’s signature tremolo guitar was a parting present from a multi-talented artist who would cross away lower than a yr later, leaving us with the query: Was one in every of these variations a canopy, or have been they each?

Sara Stoudt

Darius Rucker throws again to his begin in Hootie & the Blowfish, updating the sound of their hottest hit to suit his new musical fashion. This country-fied “Solely Wanna Be With You” begins with an prolonged banjo solo that doesn’t but trace of the unique music. Then the unique intro commences, nonetheless on banjo, and “there’s nothing I can do,” the nostalgia kicks in.

No stranger to the duvet (his hit “Wagon Wheel” was initially by Bob Dylan and Previous Crow Drugs Present), Darius Rucker is aware of easy methods to stability a number of musical identities. He retains his robust singing type the identical and lets the devices drive the brand new vibe, giving loads of area for dueling banjo licks all through with out being gratuitous.

Do you miss the no-frill, normal guitar of the unique? For these Hootie & the Blowfish followers, you may get the prospect to listen to the unique track once more stay; the band is reunited for a summer time tour.

Seuras Og

Chumbawamba have been an entire lot greater than their one hit marvel ever gave them credit score for, actively selecting to being a pox on society, or at the least the institution, from the early ’80s till they threw within the towel some 30 years later. Throughout this time interval they embraced any variety of types, from scratchy punk by way of to bop music, lastly rising on the opposite aspect as a politicized trad people band, maybe the place they greatest might park their defiantly anarchic agitprop views. The folks music motion within the UK has an extended historical past of political activism, stretching again from from Ewan MacColl to, extra lately, Billy Bragg.

“Homophobia” is one in every of their earlier songs, a relentless assault on the homosexual bashing then so prevalent, pulling few punches. That is, I assume, the unique, as showing on 1994’s Anarchy, the album I first heard, obtained, and noticed, in motion, at Guillfest, close to Guildford, U.Okay. Beginning as (and based mostly upon) a standard unaccompanied track, it steadily builds up, an excellent mixture of socio-political polemic, heavenly vocals, all-conquering trumpet, and an ideal manufacturing. That is the model the stay unit tended to stay with, it turning into, by the top, a completely acapella chorale.

The only that got here out contemporaneously, although, is an altogether brassier, in-your-face effort that really hit the undulating foothills of the hit parade, quantity 79. Together with the video, I feel it packs one hell of a punch, in a method and stance someway solely totally different from the opposite one. Altogether, in both model, a greater music than “I Get Knocked Down,” perhaps the time wasn’t proper, and, anyway, the idea of being a prime pop band by no means appeared to take a seat fortunately with the band, arguably liable for the halving of the band. (No-one has ever stated.)

On the time of writing, regardless of the choice left unopened on their web site, to date their has been no return of the Chumbas. I reside in hope.

Mike Misch

My Eight-year-old walked into my room and requested me what I used to be doing. I defined I used to be writing one thing for Cowl Me about “Mr. Jones.” Because the music opened he requested me who was enjoying the duvet. “No, it’s the Counting Crows – it’s not likely a canopy, they’re simply reinventing their very own track.” His jaw dropped as he listened to the quiet, minor key opening that so severely contrasts the unique that he loves. So although I don’t contemplate this a canopy, I completely recognize when an artist reinterprets their very own work.

Right here, the Crows and singer Adam Duritz, 5 years faraway from their breakthrough debut, rethink the craving for fame that “Mr. Jones” is constructed on. Most noticeable are numerous modifications to the lyrics. The track opens with some lyrics by Tom Petty about turning into a rock star and is significantly slowed down. Duritz not needs to be somebody to consider in; now he says “you shouldn’t consider in me.” In all probability probably the most noticeable is his profane proclamation that perhaps it’s not so nice “when everyone loves you.” Lastly, he ends with lyrics from one other Counting Crows track, “Miller’s Angels,” which is one thing the Crows do typically once they play reside. It’s clear, on this track and lots of others, that the band sees their songs as dwelling paperwork that change over time. Whereas I don’t assume that qualifies as a canopy, I do assume it’s one of the simplest ways for an artist to view and carry out their artwork.

Ray Padgett

I do know, selecting Bob Dylan is nearly too apparent. Just about each reside efficiency he’s ever given might fall into this class. His rearrangements are so dramatic they will render the songs near-unrecognizable, from a reggae “Don’t Assume Twice, It’s Alright” to a punk-rock “Masters of Struggle.” Simply final summer time, he rearranged “Gotta Serve Someone” across the Peter Gunn theme, then a couple of exhibits later rearranged it once more as a boogie-woogie quantity.

Of the million examples I might select, I picked the one which got here first to thoughts: the “Like a Rolling Stone” I noticed him carry out final fall. It stands out as a result of that is the one music he virtually by no means rearranges. It started life as a mid-tempo rocker in 1965 and, over the many years, it’s remained principally the identical. The little tweaks alongside the best way – a backing singer right here, a brand new guitar solo there – pale compared to the wholesale reinventions of different songs. Even Bob’s MTV Unplugged efficiency of this relatively famously plugged track doesn’t differ an excessive amount of. tells me I’ve personally seen him carry out the music 18 occasions in 14 years, they usually’ve by no means different a lot. Till this newest.

Dylan varies his setlists so little today that him resuscitating “Like a Rolling Stone” – a music he’s performed extra typically than anything besides “Watchtower” – final summer time made headlines. However the actual information wasn’t the oft-played music’s return after two years away, however its new association. This 2018 “Like a Rolling Stone” begins principally like all the remaining, the band amiably choogling alongside behind Bob. Then, midway by way of the primary verse, issues shift. The band all of a sudden stops. The tempo slows, and it turns into a quiet duet between Bob’s voice and his piano. For these moments, a track you’ve heard one million occasions hits you anew. The uncommon Dylan music that’s appeared impervious to vary lastly finds new life.

In my expertise, “Like a Rolling Stone” has lengthy been the worst-covered Dylan basic. Performances by different artists or by Bob himself not often measuring as much as the unique recording. However after enjoying it for fifty-plus years, he lastly discovered a option to reimagine probably the most previously untouchable of his songs. It will not be technically a canopy, however hopefully it presents inspiration for one. The good “Like a Rolling Stone” cowl has but to be recorded, however Bob lastly provided some steerage for a way that may be achieved.

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