Tag Archives: Cover Album

MALE by Natalie Imbruglia 

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.

male

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.

 

Advertisements
Tagged , , , , , , , , , , , , ,

Train Hilariously Cover All of LED ZEPPELIN II

“Dear God, why?” That’s what I thought when I logged into Spotify last week and spotted Train’s new album DOES LED ZEPPELIN II. I’m still not 100% sure why the album appeared in my feed. I know it’s not because I’m a huge Train fan…maybe it’s because I love Zeppelin? Just so we’re all clear, the Train in question (who just released a top-to-bottom cover of the second Led Zeppelin album) is the San Francisco alt-rockers best known for their 2001 album DROPS OF JUPITER.

I can’t believe that I’m writing a post about this band. Train is one of those incredibly forgettable bands that came and went without anyone really noticing because of how bland they are.  “Drops of Jupiter” is one of those obnoxious ear-worms that infect you and cause you to embarrass yourself in the grocery check-out line when you start quietly singing it under your breath. The only thing more vanilla-boring than Train are The Fray (don’t get me started). The more I think about it, the more I realize how the late 1990’s/early 2000’s were a truly dismal time for Top 40 pop-rock.

unnamed

The album artwork is just as inspired as the music.

Anyway, this complete cover album is totally baffling to me on two levels. The first is: why does this exist? I don’t think I’m being (too) cheeky when I pose this question. What does it serve to make an album that covers a legendary album like LED ZEPPELIN II? This ties into my second “why?” in regards to this album: why would you release an album of covers that sounds exactly like the original? If I want to hear the second Zeppelin album, I can go and listen to it anytime I want. It still stands up today as one of the finest blues-inspired hard rock albums. If I want to hear another artist cover songs that love, I usually want said artist to bring something to the table. DOES LED ZEPPELIN II is so ridiculously slavish to the original (fantastic) recording, that it literally does not need to exist. There is no point. Sure, the production is a little cleaner, the guitar playing not quiet as tight, and the vocals a pale imitation of Robert Plants legendary performance…but the whole package sounds so much like Zeppelin that most casual listeners might actually mistake it for the original album.

I think that most of us would agree that an ideal cover presents a familiar (or unfamiliar) song in a new light. The best covers are more interpretive than mimicry. That’s why something like Gary Jules’ cover of the Tears For Fears song “Mad World” is so outstanding. Rather than reproduce the song verbatim, Jules took a great track and slowed it down turning a sad song into a wonderfully somber dirge. The same goes for Johnny Cash’s cover of the Nine Inch Nails song “Hurt.” When I think of both of those songs I almost never think about the original versions–that’s how good those two covers are.

Train had to have known that the kind of Gus Van Sant-devotion they were exhibiting on the Zeppelin project could only be viewed as an exercise in complete wankery. Surely the point of such a stunt is to show off that it could be done. I guess it is impressive that such a lame, mediocre band could record such an album…but the fact that they chose to record DOES LED ZEPPELIN II just goes to underscore why I find them so hilariously irrelevant. Hey Train, want to show smarmy bloggers like me that you’re not lame? Take the skill you used to create DOES LED ZEPPELIN II and make your own epic record.

 

Tagged , , , , , , , , , , , ,