COVER ME
by Tim Frommer
The cover has become an essential element in the evolution of rock.
What was once tossed off as a jokey encore live has now proliferated with the help of (mostly)
worthless tribute records. However, some bands spend valuable studio time and money on someone
else's copyright. After years of research, we at DAA are starting to detect some patterns to the
covers and suggest the following courses of study. 1. The Homage 2. Paying Respects 3. Reworking of the Original So As to Make It Unrecognizable 4.Gender Bender 5. Better Than the Original
Example: "People Are Strange" -- Echo & the Bunnymen
Sometimes a song seems like it was written for another band. Right from the title, this fit the
Bunnymen. As a child of the musical '80s, I offer Ian McCulloch as inheritor to the Lizard
King's sexiness and charisma throne. Les Pattison and Pete de Freitas are note-perfect on bass
and drums and even Ray Manzarek sits in on keyboards.
Example: "Ziggy Stardust" -- Bauhaus
What is goth but an evolution of glam? This differs from the homage,
which has more to do with the newer band's divine right to the song; paying respects makes it
imperative to acknowledge those who came before. No disrespect to Bauhaus, who were an important
musical event themselves. If you don't believe me, check out the kids who aim to perfect their
I-am-Hamlet dancing to "She's in Parties" at your local alternative dance club. This
song might also be the one time in Peter Murphy's career that he attempted to sing in a key
above vampire.
Example: "All Mixed Up" -- Red House Painters
Mark Kozelek has an FM AOR soundtrack in his bloodstream. In concert,
the threat of a walk down memory lane is always as close as a shouted request that tickles Mark's
fancy. But the stunning guitar work, beautiful tenor and cascade of sound that characterize his
studio output render others' songs new. I guarantee you won't pick up that this is by the Cars
until the chorus.
Example: "Dear Prudence" -- Siouxsie & the Banshees
In this subset, the covering singer is
not of the same gender as the original artist. Changing of pronouns in the song is not allowed.
(Dare to recall the horrid Tiffany remake "I Saw Him Standing There.") Muzzle has a
passable version of Liz Phair's "Fuck and Run," but innocent John's invitation to
Prudence takes on a whole new spin when the playmate is the high priestess of post-punk.
Example "I Fought the Law" -- The Clash
Any questions?
Artists l Essays l The List l Sites & Sounds
New Issue l Best Of l Fave Links l About Us