Posts Tagged ‘Eddie Vedder’

Notice how I didn’t say “Best of 2011”?

For the past 3 or 4 Christmases I’ve made a disc of my favorite songs of the year for select friends and family members who are interested in that sort of thing. The criteria have always been there, if a little loose: it could even be a new cover of an old song, as long as it was put out that year.

With all the “Best Of. . .” lists – and sources for publishing them – proliferating of late, I’ve decided to change things up a bit this year. Instead of a disc (which I will happily make available to anyone who still wants one,) I will have a disc-length list of my favorite songs posted here. I’ll also have lists for the best shows I saw this year, as well as what I rated as the best albums of 2011.

Which brings us to today’s list, part 1 of at least 3. Unless I think of some more lists to make, and find the time to make them.

As hard as I know compiling the lists of songs and shows will be – I added over 1,400 songs to the library this year, so finding the best 20 is usually an angst-ridden exercise that takes at least four passes and countless re-listens – the album list was made relatively easy using the metadata and smart playlist abilities embedded in iTunes. (For the mathematically or statistically uninterested, feel free to skip to the list.)

I simply created a list of all the songs I added this year (after correcting a few albums that had neglected to note that fact – shame on them,) narrowed it to the ones I’d rated 4 or 5 stars, and then sorted by album. Any album that had at least five of its songs rated highly made the initial list. Then I checked each album for the total number of tracks and used Excel to figure out, lickety-split, what percentage of each album I’d rated 4 or 5 stars. Any album that had at least 50% at that level made the list below. (Which also, along with the fact that I didn’t want my list to be like everyone else’s, explains why there are 22 albums listed.)

Happy reading – and listening. I’ve made a Spotify playlist with the songs from each album that came immediately to mind when free associating about it. There were only two albums not on Spotify, so it’s not 100% complete, but I think it provides a decent representation of the albums I most enjoyed this year. (You’re on your own for those two.)

Thanks for reading, and special thanks to all of the artists who made 2011 a fantastic year for new music, at least for these two ears, and to the sources that helped me find them.

Let me know if you agree, disagree or have your own completely different lists – I’d love to check them out.

22. In Heaven, Twin Sister 50%

Love the quirky, retro feel of “Gene Ciampi,” which is why it made the Spotify list. “Kimmi in a Rice Field” and “Spain,” in particular, are also worth checking out.

21. Simple Math, Manchester Orchestra 50%

I’ve seen these guys at least three times – the most recent at the incredible Tabernacle here in Atlanta – and they keep growing in power and stature each time. Their last album snuck up on me – I really liked the first two advance singles, “April Fool” and the title track, but when I heard the full album it took a few spins for its depths to unmurk enough (never all the way, which is a good thing. . .) for me to truly appreciate it for what it is – like so much of Andy Hull’s canon, it seems a lament for questionable decisions and what appears to be a stormy, sometimes tragic past. It’s hard to pick just one from here, but what comes to mind first is its titular cut, so that’s what I chose for the Spotify list.

20. Tamer Animals, Other Lives 50%

I considered finding Other Lives’ last eponymous album a major discovery, so I didn’t hesitate at all when I saw this one come out. I wasn’t disappointed for a second. Also saw some great YouTube-like buzz around them for much of the year. The “Old Statues” video from their TLOBF session (more on TLOBF in a bit. . .) is starkly simple and staggeringly good, even with the false start. I chose “Desert” to represent the album, though, thinking that any who may have heard from them may not be familiar with this piece that sounds as sinuous, as soaring and as desolate as its namesake.

19. Circuital, My Morning Jacket 55%

I love “Holdin’ on to Black Metal” and I dare you not to get sucked in by its organ riff, but I picked “Victory Dance” for the playlist, which when it does shuffle into consciousness makes me wonder, “Where have you been lately? You need to come around more often…”

18. Burst Apart, The Antlers 55%

Not much to say here except these guys just keep getting better. Strange, unique, odd – all good descriptors in my book – and never dull. “Corsicana” is achingly beautiful, a song I imagine as part of the soundtrack of my life some days. “Every Night My Teeth Are Falling Out” made the Spotify cut because, even odder than the song, I’ve had that dream more than once myself. Worry not, making an appointment to discuss soon. . .

17. Acrobat, Peggy Sue 55%

Found these guys by accident through The Line of Best Fit, a UK-based site and podcast that can be a little too electronic and dance-y for my tastes at times, but which has turned me onto numerous new sounds over the last year. (And I absolutely love listening to TLOBF’s Emily Mules on their podcast – how can you not? I defy you to not like her, even if you don’t like the specific song or band she’s describing at the time. . .) When I heard this one I dug backwards and immediately grabbed their previous release, Fossils and Other Phantoms, which was also amazing. I’ve quoted two of their songs on this blog over the last few months:

It’s hard to breathe
with these words in my mouth
With your lips on my own
come get them out
– from Acrobat’s “Funeral Beat” (which made the Spotify list)

and

You like the way her name fits in the corners of your mouth /
You like the way your name fits in the corners of her mouth
– from Fossils’ “Careless Talk”

16. Follow Me Down, Sarah Jarosz 55%

Sarah Jarosz was as surprising to me as was discovering that Laura Marling (coming soon. . .) was just a youngster, too, even though I knew Sarah was just 17 or so when she recorded her first album, Song Up In Her Head. The subtlety, the nuance, the quiet power in her words and her playing belie her time of residency on the planet, and her follow-up to that last record is even more impressive. When not studying at Boston’s Conservatory of Music she’s touring the world with her band, playing an irresistible mix of her own impressive originals and an inspired pastiche of intriguing covers. From the first notes of “Annabelle Lee” to the last, though, I knew this effort – and this artist – was and is something special, something unlike anything I’d heard in any genre, and I’ll be forever grateful for that. No surprise, then, that Poe’s paean to his lost love makes it onto the Spotify list. Can’t wait to see her at Atlanta’s iconic Eddie’s Attic, one of my favorite all-time venues, in January.

15. Ukulele Songs, Eddie Vedder 56%

I wrote about this one when it first came out (here) and said at the time I didn’t really know what to expect, but at least a small part of me thought it may end up being a novelty record. It’s not. Read the other words I’ve written about it, and listen to “You’re True,” and I think you’ll agree.

14. Helplessness Blues, Fleet Foxes 58%

I’d been meaning to check this band out for a few years now, and finally did so with the release of their newest. I promptly fell in love with this album. I remember downloading and listening to it on a Friday, and then finding that they were playing the very next night here in town. That was a month where I already had two shows lined up, though, and the entertainment budget was stretched a little thin. Now I wish I’d done it anyway. The title cut is an awesome one, but I went with “Sim Sala Bim” for the playlist mainly because of its nonsensical, Ali Baba-like incantation of a title.

13. We Are the Tide, Blind Pilot 60%

I’ve had the pleasure of seeing these Portlanders three times over the last few years, too, and though they keep gaining members with every viewing they’ve always managed to keep that intimate, almost quiet sound that first drew me in back when they were a bike-riding two-piece. Love the words and the play among the members, however many there are. Planned to include “Half Moon” on the list because of someone I know who likes the moon in song, story and life, but alas, that’s one of the two not on Spotify.

12. When You Left the Fire, The Wilderness of Manitoba 64%

Here’s a fantastic find that the moon-lover sent my way, I think, that also kind of adds to the theme of some of the top bands and albums on this list. Large-group folk bands have dominated my eardrums this year, and contrary to becoming redundant or interchangeable each has remained distinct for me, bringing something similar but at the same time unique to the party. These are not the only Canucks on the list, either, but more on their countrymen and -women later. “Summer Fires,” one of only three 5-star ratings on this list, is included here.

11. Little Hell, City & Colour 64%

Though I still don’t get the trend of singular artists giving themselves pluralized names, this one makes sense. Dallas Green (a City and a Colour) makes deeply moving introspective music that lingers long after the last note. Not depressing, at least not usually, even though in the hands of a lesser artist the subjects he tackles likely would be. The a capella take on “At the Bird’s Foot,” a simple but scathing account of the BP oil spill, pairs those haunting vocals with Florence Welch, sans the Machine, and enrages while it saddens. I included “O’ Sister” for sampling, though any of the others would have served just as well.

10. Come Back to Us, Release the Sunbird 64%

Can’t say enough about this project, which finds a Waveless Zach Rogue with Caitlin Gutenberger making beautiful, deceptively simple music that reveals more with each listen. Check out one of my favorite cuts, another titular track, this time recorded in the excellent Subway Sessions series: “Come Back to Us.” Bonus: “Why Can’t You Look at Yourself” is on the Spotify list.

9. A Creature I Don’t Know, Laura Marling 67%

I’ve loved listening to Laura Marling ever since I bought her last album, purely due to the fact that she used a little-known group of guys called Mumford & Sons as the studio band for it. They subsequently toured India and other climes together, and in the process made some magical, otherworldly music. From the first cut I was simply blown away by the depth and power of her voice, so I was amazed to find that she’s this relatively small young girl – she writes and sings like someone thrice her age. The newest disc is full of goodies, but I think my favorite is the first one I heard, both because of its use of the universal female archetype “Sophia,” and because of the way the song – and Marling’s tender but powerful voice – changes so during its progression. Masterful stuff from one so young.

8. Within and Without, Washed Out 70%

Only recently found out that this guy, another singular gone plural, hails from Perry, GA, just south of Macon. Moody, ambient keys and plaintive voices make this one standout from the rest of the pack, and it definitely gets my vote for favorite album cover of the year. “Amor Fati” is included on the playlist.

7. The Head and the Heart 70%

Getting into the really consistently good stuff here. Loved these guys the very first time I heard the very first song, and it kept getting better. They were also probably the first of several of these large-format folk/rock bands that included beautiful harmonies with or without their female members (but mostly with) that I fell for this year. Their eponymous album is bursting at the seams with soul-soothing sounds. Saw them less than two months ago at the Variety Playhouse, so they’ll get some more plugs on the “Favorite Shows” list as soon as it’s out. Don’t know what it is about the magical, mystical PNW, but it must have just the right mix of weather, people and temperament that it takes to produce great songwriters and collaborative instrumentalists. Super hard to choose just one THatH cut to include on the sampler, and since show-closer and first favorite “Rivers and Roads” is probably the one most people know, and though “Down in the Valley” has one of my favorite lines as its opener (“I wish was a slave to an age-old trade / like ridin’ ’round on railcars and working long days / Lord, have mercy on my rough and rowdy ways. . .”) I went with “Winter Song,” one of the only other 5-star cuts from this list.

6. The King is Dead, The Decemberists 70%

Another constantly astounding, consistently impressive band for me, this follow-up to last year’s weirdly majestic The Hazards of Love would have been amazing even without the likes of Pete Buck and Gillian Welch along for the ride. I listed its first single, “Down by the Water,” as one of my favorite songs of last year since it was released just ahead of the rest of the album, and it’s still one of my favorites. One of the finest results, though, of Colin and the gang’s taking this one on the road was that they recruited Sara Watkins, a perennial favorite of mine who now seems like practically an honorary band member, playing not only fiddle but rhythm guitar onstage and on several TV appearances I caught throughout the year- and, most impressively, when I saw them at the Cobb Energy Centre here in Atlanta, one of the most beautiful and acoustically perfect venues I’ve ever been in. It was my second time seeing them, and they didn’t disappoint – but more on the show later. I chose “Don’t Carry it All” for the sampler because I love its anthemic, triumphant and cathartic feel – Meloy practically screams at us, “Let the yoke fall from our shoulders / don’t carry it all, don’t carry it all / we are all our hand and holders / beneath this bold and brilliant sun / THIS I SWEAR TO ALL!” (Caps mine.) Honorable mention also goes to the six-tune EP of tracks that didn’t make TKiD cut, cleverly titled Long Live the King and filled with the now-standard inscrutability of songs like “E. Watson,” (what did this poor bastard DO to deserve getting buried “all face down, with a good view into Hell”?) and “Burying Davy.” Good to find that Colin has lost none of the affable morbidity that we’ve come to expect from their oeuvre – the body count remains steadily on the rise.

5. Civilian, Wye Oak 70%

I guess it’s becoming redundant to describe anything in this Top 10 as “grabbing me from first listen,” but this one certainly did that, and hasn’t let go yet. I heard such power, such deep underpaintings being laid down to support the structures being built by this Baltimore two-piece, and it was like nothing I’d ever heard before. Assuming that they’d either had a brace of musicians helping them in the studio or that they’d played all the instruments themselves and multitracked the lot, and that they’d need at least a few more supporting players on tour, I was further astounded to find when I saw them at The Tabernacle this Fall that it remains just the two of them onstage: Jenn Wasner playing all the masterful, many-hued guitar sounds, and the equally incredible Andy Stack playing drums, keyboards and working the BGVs – all at the same time. To see his left hand and foot playing a staggered stack of keys while his right appendages played a small but explosive drum kit left me reeling. Check it: I won’t spoil too much since the description of the show will be on that future list, but I was completely blown away, and remain so. Everyone’s probably heard “Holy Holy” by now, and though I love the titular track on this one, too, I included “Hot as Day” on the sampler as that was the first one I heard, and some days I can still see the ghosts of its fingerprints on my throat.

4. Sunshadows, The Echocentrics 71%

This was a very late-in-the-year find – just a few weeks ago via another of my favorite finds from last year, Daytrotter. If you haven’t checked their site out yet, stop reading and do so now. Daytrotter is blowing up pretty big now, so I hope they don’t lose any of the small-time charm that I first discovered there a little over a year ago – and so far there are no indications that they’ll let that happen. Daytrotter and Paste account for fully one-quarter of the 4- and 5-star additions to my library this year – about 115 songs. Not to mention the bands I first heard there and then dug deeper and bought more of. But we’re supposed to be talking about The Echocentrics, so here goes: charmingly unusual quasi-world music that’s partly instrumental but whose lyrics are a sultry mix of Portuguese, Spanish and English. One description of their music that I came across after hearing their session, and which played at least as much of a part in my decision to buy the whole record as anything else, said basically, “when their music comes on, clothes come off, and parts of bodies crash together in interesting ways,” or words to that effect – you get the gist. I was surprised, though, that this many of their songs made the tops, but I have not tired of any of them yet and don’t expect to any time soon. Was going to include “Esclavo Y Amo” but it’s the sole remaining tune not available on Spotify yet. (It means “slave and master,” which I didn’t know until a few minutes ago, either. You’re welcome.)

3. The Cold Still, The Boxer Rebellion 83%

Here’s one that I remembered I’d loved, but that I was surprised had so very many 4’s and 5’s. Great balance between lighter and harder rock guitars, the textures just sucked me in and the highs and lows kept me wondering what was coming next. Tough choice between “Step Out of the Car” and “Locked in the Basement” as to which comes to mind first, but I went with “… Basement” on the playlist.

2. His Young Heart, Daughter 100% **

The asterisks on this one mean that I felt that there needed to be an exception made here. I really like all four songs, especially the lyrics, which were some of most open and raw I’d heard all year, and her voice suits them perfectly. But it was just four songs (“Just?” she’s probably saying somewhere right now, without knowing why. “JUST?!”) so I felt that while it definitely deserved to make it onto the list, and with high placement, to boot, I couldn’t list it as number one, mainly because I knew when I started this overlong treatise which one would have the highest percentage of 4’s and 5’s, and which one had made the strongest impact on me this year. “Candles” is the Daughter track that made the sampler.

1. Seeds, Hey Rosetta! 91%

Like I said, I knew this would be the top dog this year. It’s just too good not to be. I found it the same week as The Boxer Rebellion, so after a pretty long spell of hearing albums that had one or two great moments, to find two in the same week that were that good all the way through was a revelation. (Thanks again, Moongirl! If Paste and Daytrotter are responsible for 25% of the great songs I added in 2011, I’m sure you can account for more than 50% of the rest.) Where to start? From the multiple changes in “Yer Fall” (which could itself be three separate tunes,) to its thematic counterpart “Yer Spring,” to the straightforwardness of “Bricks” it all shines and comes together brilliantly. But it’s “Bandages” that struck first, hardest and deepest, drilling straight into my heart for a number of personal reasons and nesting there, making room for the others to follow and take up permanent residence. Based in the Great White North (which may be importing some of the PNW’s magic, or – more likely – sharing some of those same traits,) their misleadingly simple music is anything but. When I first saw this video for “Bandages,” an extended cut of the song, I was transported, and I knew I’d be a fan for life. I’ll bet I’ve heard the song over a hundred times now and it’s lost none of its emotional punch; when it hits the chorus it still gets me every time, and the incredible settings and enhanced choral harmonies in the extended video are crushingly effective. (And its drunken, healing revelry at the end will stay with you, too, as it has for me.) I hope they come down South soon, or I may have to make a road trip to see them. Easily, far and away, and without question my favorite album and band of the year.

Honorable mentions: SO many great albums missed the cut by just a few percentage points – good thing, though, or this entry may never end. Fleet Foxes was just under the required 50% and I still listen to them quite a bit. The newest Greencards offering was right on the cusp, too (and they killed in concert, as well,) as were efforts from Chris Thile, Yoyo Ma and the rest of The Goat Rodeo Sessions players. Young Galaxy has several from their latest that I know will stay in heavy rotation in coming years, just like I’m sure Pajama Club (the last of the 5-star recipients for “TNT for 2,” which is completely infectious in the best possible way) and St. Vincent will, too. Fleet Foxes, Fruit Bats and Seether round out the list of this year’s almost-theres for me.

So that’s it. Let me know what you agree with, and what you don’t – and if you like anything from this list that you’d never heard before, let me know that, too. And be on the lookout for the Favorite Songs and Favorite Shows of 2011 lists, too – don’t forget to send me yours!

Safe and happy holidays, everyone!

Advertisements

Cover songs are strange beasts. Songs that affect not only the average listener but another artist enough so that they feel compelled to put their own spin on the tune can sometimes win new fans, alienate existing ones, or pass indifferently into the aether.

I don’t appreciate the note-for-note remakes nearly as much as the ones that put a truly personalized stamp on the work. I think those NfN-ers do provide some insight into the covering artists’ tastes and susceptibilities, but the ones that really get to me are the ones that are notably different in some way from the original.

Some of my closest friends who are also serious music aficionados aren’t as moved by such redos, as I’m sure is the case with many. Why listen to another version of a song they’ve already heard?

I like them specifically because they’re other versions of songs I know and love.

So what are some of the best examples? I can think of a few off the top of my head.

The song in my library that’s been covered the most is without question Dylan’s “All Along the Watchtower.” (I have a voluminous playlist of only Dylan covers, which we’ll get to in a minute.)

Which version is the best? They all are, precisely because they’re all different.

That song, in fact most if not all of Bob’s canon, is sturdy, pliable, resilient- like all great songs, no matter the period or genre. That’s one of the reasons that so many Beatles’ (and former Beatles’) songs have received similar treatment. (More on those topics later, too.)

Whether it’s Michael Hedges’ blistering, polymanual acoustic version, the probably best-known Jimi Hendrix pass – such a signature for him that many incorrectly believe the song to be his – or Neil Young’s fuzzy paean from the early 80′ Bobfest concert, none of the song’s tension, mysticism or sense of menace lying just over the horizon is lost, only filtered through different voices, different instruments, different palettes and different minds.

Brief aside: if it weren’t for the many Dylan covers out there, I’m almost sure I would not have the same appreciation for his work, simply because of his singing voice. Let’s be honest, even in his prime it was nothing grand or dramatic (which, granted, provided a great contrast to the grandeur of the words themselves, and gave countless Bohemians and Beatniks the courage to get up and do their own stuff, too, reasoning that, “I don’t think my singing could sound much worse than that…”)

Edie Brickell’s “Hard Rain’s Gonna Fall,” Indigo Girls’ “Tangled Up in Blue,” and (again) Neil Young’s “Blowin’ in the Wind,” with its backdrop of air strikes and machine guns from Gulf War I, are as poetic and haunting and powerful as when they were first sung in coffeehouses and bus stations almost 25 years before these new versions were recorded.

Everyone’s probably heard more covers of Beatles tunes than from any other artist. Some are sublime, some merely tolerable, many not so much of either, acting as Muzak in the interminable elevator ride to the dentist’s office. There have been some good ones, though: Seether’s fairly recent take on “Across the Universe,” Corrine Bailey Rae’s “Blackbird” with Herbie Hancock on keys (live from the White House, no less,) Aerosmith’s “Come Together” from the dreadful Bee Gees vehicle/movie (and Joe Cocker’s version of the same song from the much better “Across the Universe” film,) and Cocker’s “With a Little Help from My Friends” all fall into the successful reinterpretation camp, for me. Tina Dico’s “While My Guitar Gently Weeps” is a must-hear, too.

There have been some really interesting, and really great, covers of songs from the post-Beatles era, too. Girlyman’s “My Sweet Lord,” with its otherworldly harmonies and simple guitar line loses none of the earnestness of Harrison’s original; Young’s “Imagine” from one of the many 9/11 tribute shows (I didn’t realize until writing this how many varied covers Neil Young has provided…) is surprisingly touching coming from that particular throat; and Dave Grohl’s “Band on the Run” from the same White House gig that saw Rae’s “Blackbird,” and Elvis Costello’s “Penny Lane” from the same room, for that matter, are all excellent examples of artists being energized and transformed by the original material, yet still able to leave their own signatures.

For years one of my favorite bands hardly ever got covered, and I think there was a reason: nobody at the time could match the strength, depth, or intensity of the best Led Zeppelin songs. Within the past few years, tho, several have tried and more than a few have succeeded.

The first time I heard Tool’s “No Quarter” I had to pull off the road and turn it up. (That’s only happened one other time that I remember, and the source for that one is too embarrassing to reveal here…) There were practically tears in my eyes as the dark dirge unfolded, the same deep but never explained foreshadowing perfectly mirrored in the beyond-heavy underpainting of the music, the arrangement that began familiarly enough but which slowly unspun as the song played out, Maynard’s muffing of the key lyrics – I think unintentionally – which somehow keep intact the gist of the futility of trying to defend against a never-named, mystical and mysterious foe, and of how little the ones who stand and wait can do when they “know they won’t be home tonight.” From the crushing guitars to Danny Carey’s monstrous, mammoth drumming, this easily comes the closest to capturing the original intent of the song while still leaving an indelible Tool stamp behind.

Corrine Bailey Rae (again) offers a beautifully jazzy reworking of “Since I’ve Been Loving You,” one of the most moving bluesy tracks Zep ever tackled. Lacking only the waterfalling cascade of Page’s incredible solo, Corrine easily captures the pain, worry and doubt of the lover left behind, and choosing that cover for her first full-length album was probably the single biggest reason I began digging more deeply into her canon, and why I follow her to this day. Plant’s screams of frustration and pain are transformed into understated, almost whispery resignation, with no loss of emotion in that translation. She exhibits that emotional range live as well or better than on her recordings, and that’s coming from someone who’s never been and probably never will be a fan of any sort of Jazz.

Rodrigo y Gabriela’s acoustic and quasi-flamenco version of “Stairway” deserves a mention, too. It’s probably the only cover of that song that doesn’t seem like a parody to me.

One of the only covers that seems to improve on Zeppelin’s original is not really a cover at all. Page and Plant’s reworking of “Kashmir” from the Unledded gig in the early 80’s provides an arrangement that I’ve always thought Page would have orchestrated if he’d had the resources at the time of Physical Graffiti’s original sessions. The many Middle Eastern percussive and stringed instruments played by their local experts onstage with P&P, and Page’s reworking of some of the key middle sections, make this a completely different and in my opinion better version than the original. That would likely not be the case if it hadn’t been done by Jimmy and Robert, and probably would have been even better if they hadn’t lost John Paul Jones’ phone number, as he claimed a few years later.

Zeppelin covers got the ultimate redux within the last few years with Jealous Butcher Records’ lovingly produced package of relatively unknown PNW bands playing nothing but their favorite Zep tunes on three discs. “From the Land of the Ice and Snow” is fairly uneven at points, and has weird takes, note-for-note modernizations, and several truly inspired revisions among its many cuts. The album package itself is a gem, too, with the discs themselves reminiscent of the old red, black and green Atlantic vinyl encased in a modern homage to the previously mentioned Physical Graffiti.

Standouts on that one include “Over the Hills and Far Away” redone as a bluegrass number by The Mighty Ghosts of Heaven; DCFC’s Chris Walla doing “In the Light;” “The Ocean” as interpreted by Laura Veirs; M. Ward playing an achingly beautiful and even softer version of the instrumental Bron-y-aur; and a deliciously twisted, Boho-bongo “Dancing Days” by the equally strange-named Miss Murgatroyd & the Queens of Heart. Each of these remakes is different enough – in most cases very, very different – that they bring a completely new but not irreverent impression to the old favorite or the previously obscure. A few of the others on this collection are very honest to the original – too much so, for my tastes. Antlerand’s “Rain Song,” for example, while showcasing the band’s prowess and love for the song, preserves every nuance from Zeppelin’s version, and as such it gets much less of my attention.

Another key function of the cover song is to expose newer generations or fans of other genres to different artists and styles. I know that I have never and likely will never appreciate Patti Smith’s oeuvre, regardless of the plenitude of artists I respect and admire who tout how seminal and forward-thinking her work was, and how it’s informed their work. (Sorry, Mr. Stipe.) But when I heard Allison Moorer’s “Dancing Barefoot,” a song I’d never even heard at all, I gained a modicum of respect for Ms. Smith. (Though admittedly it did not make me rush out and sample her backlog; I still think I’ve heard enough to know all I need to know in that department.)

Michael Jackson is another example. Whether you like his stuff or not, and I do not, he was the King of Pop and knew how to craft a hooky, dancy, pop song. Hearing some of those songs reinterpreted in such a way that the words can be sung (to me) in a more relatable, heartfelt way has definitely made me appreciate the unnoticed subtleties and deft touch that he had with his songwriting. Snowblink’s “Human Nature,” recorded in their Daytrotter session last year, reveals a beautiful vulnerability even before the spoken overlaid outro with Jackson lambasting someone for calling him ‘Wacko Jacko.’ Hearing (and seeing) “Billie Jean” performed live in a small listening room in the Civil Wars’ inimitably spare and pristine style makes it practically ache and throb, which, granted, the Civil Wars can do with almost any song, theirs or others’. Likewise, Nickel Creek’s live rendering of “I Want You Back,” (also done with heart-wrenching effectiveness by the CW’s,) has much the same effect: it’s an old song, but a good one, and one I would probably never have listened to again if they hadn’t taken it out for a spin.

Some of my other favorite bands are almost never covered, either because the music is too complex, too dated, or not repeatable even in a modern setting. Rush falls into this category for me. Some of their material seems ripe to be remade, (“Closer to the Heart” would seem to be a perfect vehicle for any of the chanteuses making the rounds in the Indie-folk world today,) but the only two I am aware of are Billy Corgan’s reading of “Limelight,” brilliant lyrically like all of their stuff, and Audioslave (much and unfairly maligned they may be,) doing a passable version of “Working Man.”

Live covers hold a special place for me, as they seem to give us a glimpse into the thinking and layered musical development of the people and bands we came to see, even more so than when the covers get recorded. There are many artists I see fairly regularly where part of the anticipation of the shows is wondering which one or two covers they might pull out.

At a recent Aaron Lewis solo acoustic show, for instance, he half-jokingly broke into Sabbath’s “War Pigs.” I’ll say it again in case you missed it: at a SOLO show, playing only an ACOUSTIC guitar, Staind’s front man played 3/4 of “War Pigs” before laughingly crashing to a sloppy halt. He shouldn’t have stopped – it was one of the highlights of a show that included several decent cover songs. (That opinion may be tempered by the fact that the show was heavily Countrified, from the venue and the crowd to the setlist. The highlights were few and far between, but they were definitely high.)

The Infamous Stringdusters debuted a bluegrass version of U2’s “In God’s Country” that sounded so good in that format that I wondered why nobody had ever done it that way before.

As mentioned before, The Civil Wars always choose excellent, unexpected songs to cover in their shows. I’ve seen them three times in the last 12 months and they’ve never played fewer than two per show, from Smashing Pumpkins’ “Disarm,” (also available on their recent Daytrotter set,) to the two Jackson classics, to a haunting “You Are My Sunshine,” to Sade’s “No Ordinary Love.”

I could go on for pages. At latest count, there are about 100 covers rated 4 or 5 stars in my library, and over 400 covers in total, around 20 of which are Dylan songs – including six takes on “Watchtower.” (For those keeping score at home these are by Dave Matthews, Hendrix, U2, Lenny Kravitz, Michael Hedges and Neil Young.)

Finally, special mention but woefully small descriptions go to the following favorites:

Lyle Lovett, “Friend of the Devil,” slow and tasty
Michael Hedges, “Pinball Wizard”
Sara Bareilles, “In Your Eyes”
Willie Nelson, “Gravedigger” (extra points for recording it on his 80th birthday with DMB)
Greg Laswell, “Your Ghost”
Marie Digby, “What I’ve Done” (who knew Linkin Park’s crunching guitars from this powerful tune would translate so well to a siren singing softly on her piano?)
Eddie Vedder, “My City of Ruins” live from Lincoln Center, “More Than You Know” and others from his most recent album
Missy Higgins & Brett Dennen, “Breakdown”
Andrew Belle, “I Will Follow You Into the Dark,” (complete with phone ringing in the middle)
Dave Grohl & Norah Jones, “Maybe I’m Amazed” from the Kennedy Center Honors
Grace Potter & the Nocturnals, “Paint It, Black'” “White Rabbit,” and many, many more greats
Damien Rice and Angus & Julia Stone, “You’re the One That I Want”

Love them or hate them cover songs will always be around, and fans will always be there to weigh in on them. Over and over and over again.

What are some of your favorite covers? What do you like most (or least) about them? Let me know!