There’s no non-creepy way to admit this, but I find it sexy when a female artist covers a song written by a male and doesn’t change any of the gender stuff in the lyrics (a love song about a woman staying about a woman and the like). Conversely, I think it’s pretty cool when a male singer does the same thing and doesn’t change the lyrics, which is rarer, but always super-ballsy. I bring this weird quirk about myself up because I specifically sought out Natalie Imbruglia’s cover album MALE because the concept behind it was that she would be covering songs written exclusively by men/male-dominated bands. Sadly, upon listening to the album, I discovered that Imbruglia swapped all the gender-specific lyrics. So, the Zac Brown Band song “Goodbye In Her Eyes” becomes “Goodbye In His Eyes.” At first, this bummed me out, but as I listened to MALE more, I forgot all about my weird hang-up/fetish and found myself enjoying the shit out of this record.
Normally cover songs don’t do it for me, usually because the originals are always better. The times that cover songs work are when something dramatic is done to change the way the song is presented. Except for one track (which I’ll get to in a moment), none of the songs on MALE are better than the original versions. The songs are slower, more acoustic versions of the originals, sung by a woman, but remain very faithful to the original artists. And yet, I found myself utterly charmed by Imbruglia’s covers. Part of what makes MALE such a treat, besides Imbruglia’s talent as a vocalist, are the diverse choice of songs. The songs run the gambit from the aforementioned Zac Brown Band (country) to Death Cab For Cutie (modern Indie Rock) to The Cure (classic goth rock). Some of the artists are no-brainers, like Neil Young and Cat Stevens, however, there’s enough oddball song choices to spice MALE up and keep it from becoming too cliche. Examples of song choices that surprised me: a twinkling twee-like cover of Pete Townshend’s “Let My Love Open the Door,” Damien Rice’s “Cannonball,” Tom Petty’s “The Waiting,” and a cover of Daft Punk’s “Instant Crush.”
That last track is the one song on MALE that outdoes the original. I went back and listened to “Instant Crush” on Daft Punk’s 2013 album RANDOM ACCESS MEMORIES. The song, sung by Strokes lead singer Julian Casablancas, is a great track but Imbruglia’s version is vastly superior. For starters, the lyrics are ineligible. The famously mush-mouthed Strokes singer isn’t done any favors by the Daft Punk production which distorts (autotunes?) his vocals all to hell. And stripping the song down into an acoustic number adds a serious amount of weight/emotionality to the song. That this song is the lead single of the album isn’t surprising, the quality of Imbruglia’s “Instant Crush” cover is pretty fantastic. “Instant Crush” opens the album, which probably isn’t the best idea in the world because the rest of the songs don’t measure up to its high-quality.
Don’t get me wrong, MALE is a great album as far as cover records go, but at the end of the day, it’s a curiosity. The concept behind the album, covering songs written by men, doesn’t break any new ground and most of the songs aren’t really about being men, per say. So the concept doesn’t hold as much water has I’d like, and the songs aren’t better than the originals (for the most part), so why am I writing about MALE? The album came out nearly two years ago and yet I still find myself listening to it. It’s a great last song of the night album, something I can put on when my kid is winding down to go to bed. Also, Imbruglia does have a beautiful voice, and her delicate touch adds a vulnerability to already heartbreaking songs like Neil Young’s “Only Love Can Break Your Heart” and the Iron & Wine track “Naked As We Came.”
Take a moment to check-out the “Instant Crush” cover, and if you dig that, check out the rest of MALE. I think if you go in with guarded expectations you’ll find yourself pleasantly surprised at how enjoyable it is.
Defending Axl Rose 