I had a completely different Covers Corner lined up, but then I was reminded of this one, which has long been a favorite of mine. The echoing, “I do believe, I do believe, I do believe” gets stuck in my head all the time.
I’ve talked about The Limousines many times before, so this time I’ll focus on the song itself. In their hands, it opens with this machine gun of a dance beat, urgent in its potency. Eric Victorino’s distinctive vocal fry adds a great layer. When he says, “Hey!” and jumps into the chorus, there’s a hint of boyishness, but he turns fierce at just the right moments. The lyric, “Bolts from above hurt the people down below/People in this world, we have no place to go” is muffled and calls to mind his song “The Future,” which might be one of my favorite Limousines songs.
New Order and their predecessor Joy Division are fixtures of the new wave ’80s. With The Limousines’ electronica cover, they hurtle right into the 21st century.
It’s sunny where I live for the first time in ages. That got me thinking about the “Summertime Jamz” (yes, with a zed) playlist that I made years ago. I listen to it during the colder months when I’m daydreaming about warmer climes. Now that we actually have warm weather around here, it’s time to break it out again. One of the first songs I put on there was “Uncle John’s Band” as covered by Jimmy Buffett. I was never a Deadhead (far too young for that era, and not my style of music in general), so this post is primarily going to talk about the cover rather than the original.
I’ve heard this song so many times I know a̶l̶l̶ ̶t̶h̶e̶ ̶r̶u̶l̶e̶s̶ ̶b̶y̶ ̶n̶o̶w̶ the lyrics by heart. I find some of the lyrics moving: in one interpretation, they’re about John the Baptist. “Come hear Uncle John’s Band/playing to the tide…/He’s come to take his children home.” Beyond that, the song is almost melancholy. It’s a story of loneliness; living in a silver mine called Beggar’s Tomb and hoping someone will listen to you. I like songs that are contemplative that way.
The steel drums are what prompted me to put it on my summertime playlist in the first place. It calls to mind “Kokomo” and island escape. Besides, Jimmy Buffett is summertime music; I think I have one of his other songs on that playlist as well.
The spirit of the ’60s has been alive and kicking around here, especially since a few days ago when I heard that Ronnie Spector passed on. The news prompted me to listen to girl groups left and right. “Be My Baby” is without compare of course, but today I want to talk about another group, the Supremes, and a cover of one of their songs that’s personally meaningful. “You Can’t Hurry Love” is a classic from the era. It got a modern update in the early ’80s when Phil Collins revisited it.
His version was actually a staple of my childhood. Beyond the nostalgia factor, I just love the drums here. It makes the cover so danceable and hopeful; it supports the message of the song. Phil Collins’s voice is light, reflective as he talks about the possibilities of love. The interpretation is refreshing. It’s a cover, but I feel like its bright rhythm honors the spirit of The Supremes.
The Supremes’ original has the echoing quality common to songs of that era. That sound always makes me think of black and white TV. Their harmonies are beautiful. In their hands, the lyrics have a bit more of a longing feel: talking to their mama about when love might arrive. The eventual trust and faith expressed in The Supremes’ voices as they rise and fall brings to mind the gospel roots that many Black girl groups of the era had.
I can’t decide which version I prefer, and indeed, maybe that’s a question for the Covers Corner feature that I’ll set aside for now. What do you think?
It often seems like only a matter of time before most ’90s-era staples get a 21st-century revisit. With today’s cover, we’re treated to a double whammy: Post Malone’s cover of the Hootie and the Blowfish hit was released to commemorate Pokémon’s 25th anniversary. That just demonstrates the age of the song and the franchise.
I have to admit, the song choice for the anniversary is a little weird, especially since Pokemon was originally developed for kids. If you look closely at the lyrics, they’re a bit adult. For example: “I just wanna love you, but you wanna wear my ring” or “You get so mad at me when I go out with my friends.” But the editing itself works. It’s electronic (fitting for a video game and anime series) and Post Malone’s voice is ever-so-slightly distorted. His vocals are their trademark slurred; this time, they’re processed through an 8-bit filter.
With Hootie and the Blowfish, the vocals are much bouncier. They’re bolstered by that strummy guitar that was so popular back then. (See also: “Loser” by Beck or much of Blues Traveler.) The song slows down for the chorus and just emphasizes the declarations of love. It’s such a story of a back-and-forth relationship: “You can call me your fool/I only wanna be with you.” Yet somehow the song manages to avoid a Nice Guy pratfall.
It’s a tossup for me as to which of the two songs I prefer better. As usual, I’ve posted them both below; let me know which one you like.
I’ve been on a Nirvana/Foo Fighters kick lately, so it seems only fitting that the latest entry in my Covers Corner series features them. It’s also a great crossover because “Keep the Car Running” is one of my favorite Arcade Fire songs, after the iconic “Wake Up.”
The Foo Fighters’ take on the song actually retains much of the spirit of the original. It even features the stringed instrument section. I love Dave Grohl’s voice here. He has excellent range: it can go from grunge to gentle, and in this cover, the gentleness is what’s at the fore. That softer tone is especially evident with the lines, “If some night I don’t come home/Please don’t think I’ve left you alone.” There are also nice acoustic vibes and the beat is so uplifting. Even when the drums crash in, they’re restrained.
Meanwhile, Arcade Fire’s original opens more slowly. Like many of their songs, it’s atmospheric, yet solid. Interestingly, at certain points Win Butler’s voice does actually sound somewhat similar to Dave Grohl’s. (I enjoy parsing the differences between cover and source, but sometimes it’s the similarities that are fun to discover, too.) The story that I get from the Arcade Fire version is just that, a story. Somehow the Foo Fighters cover makes it feel like something that actually happened. Perhaps it’s how many layers of sound are going on: distance versus immediacy.
It’s hard to say which version I like better. What about you?
Halsey is known for songs that chronicle vulnerability and hesitation to let someone in. Even when the relationship does start, she remains guarded. In “Finally // beautiful stranger,” she admits that she “used to think loving meant a painful chase.” It takes effort for her to let herself fall in love. “Bad At Love” is another open song. She chronicles a few hookups she’s had and what made them end. Was it drugs? A “get back in the kitchen” attitude from a guy? She keeps trying, but “always makes the same mistakes.” It’s difficult to tell whether the song is hopeful or not. Halsey’s version is interesting musically because while the beat is slowed down and trap-influenced, she sings really fast.
Old Dominion takes their turn with the song for a Spotify Single. They give it an urgent, rock-heavy tone that really works; it calls to mind mid-00s pop-punk. That attitude is especially true at the chorus. Matthew Ramsey almost yells that he’s bad at love. It seems defiant, deflective; stay away or you’re going to get hurt. The twist of the cover is that Old Dominion keeps all the pronouns. It’s still a bisexual song, but now it’s sung from a male perspective. That captures the essence of “Bad At Love,” I think – not just the queerness, but that anyone, regardless of gender or attraction or inclination, can make mistakes in relationships. The important part is to keep trying.
Yes, this is the first time we’re doing an entire album of covers for this feature! Foreverly is actually one of my favorite cover albums, just because it’s so unique. Who would have thought that the Green Day frontman would duet with someone best known for Come Away With Me softness? What’s more, that the two of them together would record covers of Everly Brothers hits? It’s a bunch of tastes that, surprisingly enough, taste really good together.
The album starts out sparse, with “Roving Gambler,” a ballad describing the narrator’s downfall due to their gambling addiction. The twanginess of the guitar sets the stage for what’s to come. And indeed, the acoustic vibes continue with “Long Time Gone.” That song is one of the standouts on the album for me. I especially love the electric guitar that sneaks in towards the end. It’s a little reminder of Armstrong’s punk roots. “Lightning Express,” the follow-up, is weaker; like “Roving Gambler,” it’s a ballad, but the story drags on just a little too long.
The other song that I like a lot from Foreverly is “Oh So Many Years.” It has sad lyrics (“Each night within my lonely room/I cry dear, over you.”) but the melody is lovely. Here, Armstrong and Jones’s voices blend together in an especially nice way. Armstrong doesn’t have a particularly deep voice, and Jones doesn’t have a particularly high one, so they support each other’s harmonies quite smoothly.
Overall, the album provides an update to traditional melodies and songs, without taking away their heart. It’s a fun curio.
I have Lorde’s seminal album Pure Heroine on my list for a Throwback Thursday retrospective. In the meantime, I wanted to share a fun cover of her most famous song. The Boss did his own version a few years ago, and there’s lots to unpack.
At first glance, Springsteen doesn’t seem to pair that well with Lorde. Many of his songs are blue collar in nature; see Born in the U.S.A. or Thunder Road. Meanwhile, Lorde’s aesthetic is a slightly darker side of pop. Give the cover another listen, though, and The Boss is a better fit for a cover than you might assume. “I’ve never seen a diamond in the flesh…/And I’m not proud of my address/In a torn-up town, no postcode envy.” Doesn’t that sound like an echo of “Born to Run”? “In the day, we sweat it out on the streets of a runaway American dream/At night, we ride through mansions of glory/In suicide machines.” Let’s go back to Lorde: “We count our dollars on the train to the party.” Springsteen peoples his albums with “tramps like us” and shell-shocked veterans; in “Royals,” Lorde is also looking in from the outside.
Vocally, Springsteen is also a good match. Lorde stands out from her teen idol peers because her voice is so much lower. The Boss’s voice more grizzled now than when Greetings from Asbury Park, N.J. came out, carries the cover without sounding strained or awkward.
I also like hearing Springsteen say “You can call me King B.” In the audio, there are a few laughs in the audience at the line. He’s completely unselfconscious, and the vibe extends to the casual, even country-esque vibes that his cover has. (That harmonica alone!)
In terms of comparing cover to original, I’ll definitely go for Lorde’s version. But again, as with so many of my “Covers Corner” posts, I love seeing what other artists bring to the table when they try their hand at recording something completely different. And in this case, it’s a rock’n’roll institution singing a teenage pop song.
It has to be heard to be believed:
And here’s Lorde’s original, just in case you haven’t heard it in awhile:
Before Coldplay collaborated with the likes of Rihanna, The Chainsmokers, and, most recently, BTS, they were best known for coffee shop ballads that veered into the atmospheric (see: “Viva la Vida”). Songs such as “Yellow,” “Clocks,” “Green Eyes,” and “Fix You” got them noticed. “The Scientist” is another early hit; if I’m being honest, it’s actually my favorite Coldplay song.
“The Scientist” is just so moving. It describes the inability of logic and reason to describe why a relationship might be falling apart. “Questions of science/Science and progress/Do not speak as loud as my heart.” Chris Martin sings feelingly here, especially when he pleads, “Oh, take me back to the start.” You wish for that moment to go back to the good. The song itself is rather spare. It focuses on piano, with eventual soft guitar and drums. Oof.
Willie Nelson’s take on this song is probably one of its better-known covers. His version has twangy guitar rather than piano, and his distinctive, gravelly, grownup-cowboy voice makes the song more mature. Here, the song feels grounded; perhaps that’s because it’s slower. When he sings, “Nobody said it was easy,” you get the sense that he’s speaking from a great deal of experience. Indeed, at the lyric, “I was just guessing/At numbers and figures/Pulling the puzzles apart,” there’s a different level of introspection there than in the Coldplay version. And there’s comfort there, too.
I have to say, I like the Willie Nelson version better, probably for those reasons. The lyrics themselves are lovely, and he gives them a nice extra weight.
Unfortunately, his cover isn’t available on Spotify, so I’ll post the YouTube link instead.
I’ve had “Mrs. Robinson” (the Simon & Garfunkel version) stuck in my head lately, so I thought it would be fun to talk about a unique cover, which came to us courtesy of The Lemonheads in 1992.
We all know the jangly, almost thoughtful ’60s folk sound that Simon & Garfunkel were known for. “Mrs. Robinson” tells the story of the titular woman, who seems to be visiting an institution: “Stroll around the grounds until you feel at home.” Their voices are light and turn almost sneaky on the line “Put it in the pantry with your cupcakes.” (I actually prefer the soundtrack version, where the guitar is front and center. It even features a hint of the Bo Diddley beat, which is one of my favorite beats ever.) Anyway, it’s nearly the definition of groovy: settle into that strumming guitar and try not to shimmy.
Meanwhile, The Lemonheads speed things up. The main beat of the song is not hidden, exactly, but it provides the core for everything else. You can just hear it as the bass line. Evan Dando has the classic ’90s male singer voice: curved somehow, it finds its roots in punk and foreshadows the likes of Blink-182. I like this cover because they’re younger than Simon & Garfunkel. You can almost believe that they’re singing from the perspective of someone who is interested in a Mrs. Robinson, rather than the perspective of a peer with “sympathetic eyes.” The line “Put it in the pantry with your cupcakes” even sounds flirty in this version. Towards the end of the song, the guitar turns crunchy before the fadeout. There’s no lightness here; it’s solid.
In terms of cover vs. original preference, I like the Lemonheads’ version because it’s fun and youthful, but it’s hard to compare something to such an iconic song. So in this case I’m leaning more towards Simon & Garfunkel. What about you?