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Fall Out Boy, Ed Sheeran Cover Elton John

Fall Out Boy Visits fuseWe know, the title kind of implies this was a collaboration of sorts. But there are some collaborations that are just a little too odd to imagine, and Fall Out Boy with Ed Sheeran are among them. Though by the looks of it, something may be in the works. But for now, the two artists are simply showing their mutual love of Elton John in two separate covers, which will appear on a deluxe reissue of Elton John’s Goodbye Yellow Brick Road. Also appearing on the cover album will be Hunter Hayes, the Zac Brown Band, and many more. Check out the covers track list below.

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The EditoriaList: Ten Totally Righteous Covers

A friend of mine suggested some good ground rules for this one: You have to strip out covers of old blues tunes (sorry Stones and Beatles). Also strip out cover bands (sorry Joe Cocker and Nouvelle Vague) and cover [tribute] albums. He suggested “Police & Thieves,” with which I concur, as well as Souxie And The Banshees’ “Dear Prudence,” with which I do not. This could still be a huge, huge list, but these are some of the very best, in order.

 

10. Benny And The Jets “ Beastie Boys w/ Biz Markie (original by Elton John)

Benny And The Jets is my least favorite of Elton’s hits (I’m not counting anything after 1989, cause why would I?), but it is given a reason for existing here by The Biz, who was fucking around in the studio with The Beastie Boys, checking out old records, and decided to cut this version, where he slurs lyrics he clearly doesn’t know, ridiculous crowd noise included. Hilarity ensues.

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Sound And Vision: Cover Me — Ten Remakes Of Great Songs That Are Better Than The Originals

“Have you lost your mind?!”

That’s the thought bubble I could have sworn I saw spring from my friend’s head several weeks ago when I mentioned that my all-time favorite remake is Aretha Franklin‘s 1971 Sunday-morning-at-the-pulpit rendition of “Bridge Over Troubled Water.” “You mean her version isn’t the original?” he asked, totally floored. No, she borrowed it from Simon & Garfunkel, who had hit No. 1 with it the previous year, and never gave it back.

Every time I think of Franklin and the crafty way she used to take ownership of other people’s hits (Dionne Warwick‘s “I Say a Little Prayer,” Ben E. King‘s “Spanish Harlem” and most famously, Otis Redding‘s “Respect”), I remember a story Dusty Springfield once told me. Franklin was originally offered “Son of a Preacher Man,” and when she turned it down, Springfield snatched it up. Shortly after Springfield’s version hit the Top 10, she met Franklin for the first and only time in an elevator. Franklin walked in, put her hand on Springfield’s shoulder and simply said, “Girl.” Not another word. “I just about fell out!” Springfield told me, still in shock and awe decades later.

Franklin eventually recorded “Son of a Preacher Man,” and Springfield so liked what Franklin did to her hit that she began performing it in concert Franklin style. And that, folks, is what you call running off with someone else’s song. (For the record, I prefer Springfield’s original.) Now, here are ten other cases of musical robbery.

Marvin Gaye “I Heard It Through the Grapevine” Just one year before Gaye went to No. 1 for seven weeks with his biggest hit, Gladys Knight and the Pips took their gospel-infused version of one of Norman Whitfield and Barrett Strong’s two crowning achievements (the other being the Temptations’ “Papa Was a Rolling Stone”) all the way to No. 2. Both are spectacular, but Gaye’s moody, brooding take, which actually was recorded first, making it a “cover” in timing only, will always be definitive.

Marvin Gaye “I Heard It Through the Grapevine” (a capella)

Harry Nilsson “Everybody’s Talkin'” and “Without You” Little-known fact: The late singer-songwriter who wrote Three Dog Night’s “One” had his two biggest hits singing other people’s words. Fred Neil‘s 1966 original version of his own “Everybody’s Talkin’,” though moving, lacks the mournful tremulousness and vocal drama that Nilsson brought to it three years later. Nilsson’s emotional bells and whistles sell the song. “Without You,” his biggest and signature hit, was written and recorded by Badfinger in 1970, two years before Nilsson took it to No. 1, and has since been covered by Mariah Carey and seemingly at least one contestant per season on American Idol. The song, however, belonged to Nilsson in life, and it still does in death.

Harry Nilsson “Everybody’s Talkin'”

Billy Paul “Don’t Think Twice, It’s All Right” Bob Dylan’s song has been done to death”by Peter, Paul and Mary, Johnny Cash, Waylon Jennings, The Four Seasons (under the pseudonym The Wonder Who?) and so many others”but Paul’s jazz-inflected rendition gave it a certain soulful urgency lacking in every other version I’ve heard. This is one of those rare times that someone not only did one of Dylan’s compositions justice but did it better than Dylan, too.

Billy Paul “Don’t Think Twice, It’s All Right”

Anne Murray “You Won’t See Me” I’d read it many times and always assumed it was a suburban myth, so when I met Murray in the ’90s, I asked her, “True or false: Did John Lennon really tell you that your 1974 version of “You Won’t See Me” was his favorite Beatles cover?” True. Better than Marvin Gaye’s “Yesterday,” Elton John’s “Lucy in the Sky With Diamonds” and Aretha Franklin’s “Eleanor Rigby.” (I wonder what he would have made of Tiffany’s “I Saw Him Standing There” had he lived eight years longer to hear it.) Once again unwrapping her gift of interpretation six years later, Murray took the Monkees’ “Daydream Believer” and made it listenable at last.

Anne Murray “You Won’t See Me”

Linda Ronstadt “You’re No Good” Dee Dee Warwick recorded it first, and Betty Everett took it for its first trip up Billboard’s Hot 100 (to No. 51 in 1963). As great old-school soul singers go, both were up there with the best, but what made Ronstadt’s version pop and rock and sent it to No. 1 for one week in 1975 was the mix of Peter Asher’s haunting production, a tough-as-nails Ronstadt at the peak of her vocal power and the best instrumental outro in the history of ’70s rock. Love and anger rolled into one of music’s great transcendent kiss-offs.

Linda Ronstadt “You’re No Good”

Amii Stewart “Knock on Wood” Eddie Floyd‘s 1966 original is a soul classic and deservedly so, but Stewart’s 1979 cover”which went all the way to No. 1”is a highlight of the era of disco balls, bell bottoms and white polyester.

Amii Stewart “Knock on Wood”

Darlene Love “River Deep – Mountain High” I know, sacrilege! How dare I say that anyone ever topped Ike & Tina Turner’s 1966 classic! But there you go. Recent Rock & Roll Hall of Fame inductee Love, whose voice is one of the greatest instruments ever committed to record, covered the Phil Spector track for the 1985 Broadway musical Leader of the Pack, and nailed it effortlessly on the cast recording. She sang it with a soulful clarity and technical precision that matched and then surpassed the Queen of Rock & Roll because Love, unlike Turner, didn’t have to claw her way out of Spector’s great, big, oppressive “Wall of Sound.”

Darlene Love “River Deep – Mountain High”

Marc Almond Featuring Special Guest Star Gene Pitney “Something’s Gotten Hold of My Heart” Topping Gene Pitney is hard work, but when Pitney revisited his own 1967 UK hit as a male-on-male duet with Soft Cell’s Marc Almond, the result not only improved on its source material, but it gave the singer one final trip to No. 1 in 1989.

Marc Almond Featuring Special Guest Star Gene Pitney “Something’s Gotten Hold of My Heart”

David Cook “Always Be My Baby” In what remains one of American Idol‘s greatest moments, during season seven, Cook took a sappy Carey song I’d always despised and turned it into a grungey, slow-burning stalker anthem. In the process, he proved himself a true artist and Carey a songwriter capable of greatness.

David Cook “Always Be My Baby”

Tis The Season…For A Holiday Song Competition!

We know, we know.  We’re still nursing our Halloween candy hangovers, but we swear we already saw Santa at the department store and”let’s face it”it’s only a matter of days now before the decorations start coming out. So what better way to get in the holiday spirit than starting up a Holiday Song Channel? Starting November 1st, artists can take their best shot at spreading holiday cheer across the web. Think you’ve got the next “Frosty The Snowman” or “Jingle Bells” under your cap? We want to hear it!

Upload your best holiday jingle, ditty, tune”you get it”to OurStage’s Holiday Song Channel. Your entry must be an original composition or a public domain cover and, of course, holiday spirited in nature. So get creative, get cheerful and get into the spirit of things. The competition will run right up until December 31st and the winner will get $100 and a crack at the site-wide $5,000 grand prize. Bet that will help pay off all those holiday shopping debts!

UNDER COVERS 6: ORIGINAL COVERS

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Welcome to the sixth installment of “Under Covers,” a bi-weekly topic dedicated to exploring the musical possibilities of artists appreciating one another’s work on both the OurStage and national levels. This week’s topic: Original Covers.

There are two brands of cover artist: the copycat and the innovator. No one is going to deny that playing your favorite rockstar(s)’ epic anthems verbatim isn’t a blast, but it’s always a little more interesting”at least to me”to hear the classic tunes we all know and love reworked from a fresh, new angle.  I’ve decided to change the format of this edition of “Under Covers” yet again, this time highlighting some of the most original cover songs on the site.

Die Vielharmoniker

Die Vielharmoniker

To start, let us explore what has officially been deemed the world’s most covered song: “Yesterday” by The Beatles. According to The Guinness Book of World Records, Paul McCartney’s dream-inspired eulogy honoring sunnier days has been covered nearly 7 million times. Yet no matter how many times this song is redone, it will forever stay relevant, as the idea of yesterday will remain as long as the earth is spinning. As noted earlier, the hooky melody to this song came to Sir McCartney in a dream. Upon awaking from the dream, he raced over to the piano to solidify the idea before it drifted away. After that moment, the story goes that Paul became more or less obsessed with his inadvertent creation, playing it whenever he got a chance, and eventually driving his fellow band mates insane. Even after the success of the song, Lennon went on record to state his dislike of the bothersome circular nature of the lyrics as the listener never actually finds out what has happened since yesterday. Regardless, it is a strikingly simple song for the emotional weight it possesses.

lgsb0002the-white-album-the-beatles-art-print

On a creative level, taking a simple song and expanding up on it is always more challenging than the stripping a complex song down to its core, which is why 8- member German a cappella group Die Vielharmoniker‘s take on “Yesterday” is so breathtaking. They change the beginning from a straight rhythm made up of only 8th notes, to one comprised of 8th notes, half notes and melody. It’s always amazing to me how capable a cappella singers are when singing instrumental textures. Die Vielharmoniker is no exception. Whether intentionally or not, their la-la-la’s during the chorus sound like the guitar plucking in Yesterday, and the long sustained notes sung by the deep voices in the group sound like the low string instruments used in the original song. For the most part, the song is split between secondary vocals featuring one lead vocalist, but at certain points in the lyrics like hanging over me and a place to hide away, all participants come together to sing the lyrics as one, creating an enveloping sonic pillow for listeners to enjoy. To change things up even more, they switch lead vocalists and their harmonies throughout the composition, giving each new section a different vibe than its predecessor. Hear what the artist’s themselves have to say about the arrangement and their unique a cappella twist:

“The arrangement of “Yesterday” is mainly based on a King’s Singers version of this Beatles classic. It was adapted by Viola to suit the voices we have in the group and features myself and Toby, another Englishman, who left the group at the end of 2008. We have more demanding arrangements that we sing, but the voice parts on this title come together beautifully to produce layers of sound and seemingly complex harmonies. Less is, as they say, often more! ;o)”

“It’s still one of our favourite arrangements to sing and is always a welcome inclusion in any set we perform. It helps, of course, that the original song is so well written. All we do is give it a fresh twist by singing it a cappella.”

– Matt Atherton of Die Vielharmoniker

Owen Brady

Owen Brady

Stemming from the same decade, The Doors‘ iconic and heavily covered Light My Fire has been theorized to be a euphemism for many indulgences. Whether said indulgences be sex, drugs or plain raucous behavior, it can be agreed upon that this song encourages some sort of energetic outlet. So what happens when one man takes a song thriving with enough flammable energy to light the night on FIYAH and whittles it down to acoustics? Listen to Owen Brady‘s rendition of the unrelenting classic and find out for yourself! Despite lessened instrumentation and a slower tempo, his version sacrifices no passion from the original, and more than makes do without the lengthy acid rock organ solo. Brady’s vocals are very dynamic, varying from the sweet and sensual to straight up top-of “your-lungs bravado. During the instrumental breaks between chorus and verse, smooth guitar licks accompany the rhythm to create a sort of mini solo, sections that eventually become something to look forward to throughout the piece. So while Mr. Mojo Rising and The Doors may start a forest fire with 7 minutes of full ensemble, Mr. Brady strikes the match in a mere 3:04 “ just enough time for his well balanced creation to set your soul ablaze.

The_Doors

These artists and their songs are fantastic examples of modern refurbishings of timeless classics. It is this mentality that allows 40-year-old hits to grow and evolve with the times, a mentality that will hopefully persist as long as music exists. If you have a topic for “Under Covers” or know artists that you would like to cover or be covered by, leave a comment about them below!

UNDER COVERS VOLUME 5: METAL SONGS ACOUSTIFIED

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Welcome to the fifth installment of Under Covers, a biweekly column dedicated to exploring the musical possibilities of artists appreciating one another’s work on both the OurStage and national levels!

metallica 1A sagacious metal head once bequeathed to me the 3 most fundamental aspects of any legitimate metal song: power, attitude, and decibels. If this is true, and I believe it is, one wouldn’t expect acoustic covers of metal songs to pan out so well. But as classical Spanish guitarists Rodrigo Y Gabriela have masterfully demonstrated, acoustic covers of metal songs extract the gorgeous musical nuances hidden within the power chords, screaming and speed pedaling in the original metal version. Muddy metal chords adopt an entirely new personality when transitioning to a clean acoustic sound, bumping up a few octaves, and replacing the militaristic metal percussion with hand drumming and intricate strumming patterns. Take for instance Rodgrigo Y Gabriela’s cover of the Metallica song Orion. The original version slowly fades in with a steady, driving rock beat, and the guitar chords enter one after another right on time in true metal fashion. The Mexican duo adequately replaces this drumming with Gabriela’s impressive hand percussion on the body of the guitar, and Rodrigo decides to arpeggiate the dark, distorted chords, presenting each note individually, in turn expanding the sound.

Rodrigo Y Gabriela

Rodrigo Y Gabriela

Staying true to metal form, Rodrigo does not improvise, instead playing the same solo that Kirk Hammett plays on the Metallica version. Despite being acoustic, the resulting product is shredtacular, as Rodrigo Y Gabriela make up for and lost intensity by playing at a faster tempo

OurStage is home to many songs exuding the quintessentially metallic power, attitude and decibel gems. And while many of them could be adequately transferred into the acoustic realm, A Vision Grotesque’s King of the Massacre stands out in particular to me. Opening with a spastic guitar riff followed by locked and loaded percussion, this song is packed with musical fury from the get-go. King of the Massacre travels through many different time and tempo environments as well, sometimes placing a racing lead solo over a momentous set of half time mammoth metal chords, at other times employing the opposite, with extremely rapid drumming milling beneath a stagnant bass and lead. The most endearing surprise appears at 2:31, at a point in the song where the traditional metal breakdown would usually announce itself. However, instead of a brutally raucous breakdown, a delicate acoustic medley enters instead.

A Vision Grotesque

A Vision Grotesque

The next minute or so are composed of an epic acoustic build sounding more gentle than metal. At 3:44, the hard rock vibe breaks back in with full force, but still hasn’t reached the metal caliber that was evident earlier in the song. With the onset of frenetic strumming and drumming, said metal climax returns with chaotic chorus screaming @ 4:51. The song has officially come full circle. With so many musical offerings in five chaotic minutes, the acoustic cover possibilities are a dream come true.

Of course, these songs cannot be accurately transformed without talented musicians to perform the shred in their own style. Enter 15 year musical veterans Sol Y Canto. Hailing from Cambridge, MA, this seasoned Latin outfit has received a slew of hefty awards throughout their career, including Best of Boston for Latin Rhythms by Boston Magazine and Outstanding Latin Act by the Boston Music Awards. Their performance resume isn’t too shabby either, having performed at Boston’s Symphony Hall and the California World Music Festival. That being said, they’re plenty talented enough to work some Latin magic on King of the Massacre. I would transfer the opening riff (and the rest of the lead guitar) over to piano. Partly because piano is the only other instrument in Sol Y Canto besides guitar that would be able to play that riff, and because how many times to you hear guitar riffs played by a piano? I think this would be an interesting trend to carry throughout the entire song, giving the piano the lead riffs while the acoustic guitar (harmonized by flute and saxophone) played the rhythm guitar parts of the original song. Of course, adequate congas would be necessary to keep it moving, despite the hand cramps that might entail. Another instrument capable of driving the song forward is the bass, but the bass is rather neglected in the original song, just playing root notes in a rhythm matching that of the rhythm guitar. I would have the bass walk at a fast tempo and vary outside of the tonic key, a move that would undoubtedly inject some more pep into the acoustic version.

Sol Y Canto

Sol Y Canto

At 1:16, where the percussion plays a tempo double the rest and the vocals turn melodic for the first time, I would have the flute and saxophone take over the vocal line, and piano, guitar and congas take over for the rhythm. When the acoustic interlude comes in, a vocal-guitar-vocal pattern develops. I would have the flute take the vocal line, and the saxophone take the guitar line that follows. This would give the section some nice diversity, especially with the piano and acoustic guitar supplying some ornamented background chords underneath. When the big riff comes back at 3:42, I think it would be neat to give it to every instrument in the ensemble, a combination of sorts giving it the most encompassing sound yet. With the re-entrance of this hard rock feel, I would make every instrument as quiet as possible, so that the metal climax would receive as much shock value attention as deserved when it arrives at 4:51. The song’s departure would achieve its full circle potential if the same instrumentation that was used for the first chorus was brought back the second time around at the end.

With some diversified instrumentation, dynamics and altered rhythm, the rugged metal shell is cracked, revealing the often-concealed musical beauty within. If you think this could be fun, pick up some non-amplified instruments and give it a go!

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UNDER COVERS VOLUME 1

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Welcome to the first installment of “Under Covers,” a biweekly column dedicated to exploring the musical possibilities of artists appreciating one another’s work on both the OurStage and national level! Consider this an opportunity to examine compositions in different musical styles. Today’s inaugural topic: the tastefully-composed heartbreak song.

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Of the many cultural clichés reigning supreme, the heartbreak song must rank somewhere near the top. Yet no matter how petulant and juvenile these songs can become, it is one of the few topics still applicable to all genres of music hence relatable to music fans from all walks of life. Some songs trumpet confident odes of independence (Gloria Gaynor’s I Will Survive and John Mayer’s Dreaming With a Broken Heart). Others whimper of love lost (Elvis Presley’s Heartbreak Hotel and Ray Charles’ Hit The Road Jack). Some musicians choose to explore the down and dirty details, using their music as an outlet to vent with aggressive lyrics and vengeful vibes (Fiona Apple’s Limp and Alanis Morissette’s “You Oughta Know”), while their counterparts choose to accept the venture as ill-destined and appreciate it for what it was (Feist’s Let It Die and Carole King’s “It’s Too Late”).

Bon Iver

Bon Iver

Reeling from multiple midlife crises, Justin Vernon (aka Bon Iver) spent a winter hibernating in a snowy Wisconsin cabin, recording music and soul searching. The result was For Emma, Forever Ago, Vernon’s beautifully sparse debut album. As with most songs on the album, The Wolves (Act 1&2) consists only of guitar and opaquely layered harmonized vocals. The song peaks near the end where the sounds of intermittent percussion, chainsaws and axes chopping wood usurp the percussive absence “ symbolic of the tearing turmoil at the heart of this lyric. Content wise, it is undoubtedly about the two respective parties in a break up; the breaker and the broken. Yet this song does not fall victim to the annoyance epidemic of many other similarly-themed tunes. Vernon accepts the situation for what it is, and while admitting his broken state, acknowledges the breaker’s point of view. Both contradicting perspectives are indivisibly tied together at the end of the song with lyrics What might have been lost and Don’t bother me

Even though this album is beautiful because it is sparse, one can’t help but imagine the potential this song could achieve if it were covered by a larger group capable of accentuating and building upon all the musical points already begun by Bon Iver. For my fantasy cover of this song, I nominate Broken Social Scene. As mentioned in an earlier post, this group uses their weight to layer sounds to celestial heights, which” if done properly” would enhance the song’s build up to the climaxinstrumental harmonies to match the vocals. Plus, with so many members, there are tremendous possibilities for replicating the percussive sounds at the aforementioned climax”especially

Broken Social Scene

Broken Social Scene

during a live performance. And imagine if they performed it with Feist, one of the revolving vocalists in the group! The female voice would certainly give this song its missing ingredient, a voice for the unrepresented character to sing Don’t bother me at the end. Moreover, BSS is renowned for its storytelling ability so there’s no doubt that the abject suffering audible in Vernon’s lyrics would be adequately fulfilled.

Exploring other realms on OurStage, last month’s JetBlue “Live from T5″ competition exhibited a plethora of great acoustic acts. Sticking with the heartbreak theme, another song I’d like to hear covered is She Don’t Ride by Methuselah’s Valise. With a band name that translates to an ancient creature’s suitcase (or as the band describes it”old bastards with more baggage than the train they rode in on) it’s no wonder these Brooklyn baby boomers have ample life experience to compose a ballad like She Don’t

Methuselah's Valise

Methuselah's Valise

Ride. This song falls under the category of reluctant acceptance as far as I’m concerned, as the narrator regrettably admits his faults in the relationship ending, and doesn’t contest the split. Man and his guitar lamenting love, a theme proven timeless for centuries. But while simplicity is always appreciated, I think expanding some chords” and maybe substituting instrumentation”could really drag this song out of the old and into the new.

I nominate OurStage artist Richard Saunders and the too-cool-for-yous for my fantasy cover of this song. This soulful sextet is structured on a level foundation of jazz and pop, the perfect mixture to pay tribute to She Don’t Ride. As his OurStage profile demonstrates, Mr. Saunders experienced the loneliness only a lack of love can bring. His track Still Alone is self explanatory while” contrary to what one may think ” his song  I Love You, Richard  is a self-esteem boosting ode to himself, an echoing stress release when those stubborn fans just aren’t satisfied. At least that’s what I got from it. That being said, he is more than qualified to cover Methuselah’s Valise’s weary She Don’t Ride. The strength of this song lies in the haunting vocal harmonies. The too-cool-for-yous have three agile backup singers to plentifully realize the harmonies. Throw some 7th and 9th chords into the mix on Saunders’ Jamie Cullum-esque piano playing along with a more contemporary bass line (still abstaining from any percussion), and the song takes on an attractive modern vibe. But why take my word for it? Listen to what the artists have to say!

Richard Saunders and the Too Cool For Yous

Richard Saunders and the too-cool-for-yous

I reached out to both Richard Saunders and Methuselah’s Valise to see what they had to say about this possibility. Both were very intrigued with the idea. Ward Parker of Methuselah’s Valise suggested that Saunders and his group abandon the folk feel altogether: “With his [Saunders] vocal style, a slower tempo and a jazz feel is more appropriate I think; kind of like ‘Strange Fruit.’ Real atmospheric; smoky with the red lights on, if you know what I mean. Keep it simple; just the piano, drums (brushes) and bass. The backup vocals are great and should be featured.” Saunders also had some very interesting instrumental and tempo / time ideas: “I think I would try to maintain the nostalgic, regretful tone of the song while putting in some ideas I’ve heard in soul/gospel music. I’d have the song build in volume from the beginning to the climax” maybe start out with a strong bass line and lead vocals, then have back-up vocals come in as they do on the original recording. I’d have the band play the song in a slow 6/8 tempo. I could have the back-ups sing ‘ooooh’s‘ over the chords of ‘through those dark tunnels…‘ but always have them sing the words ‘she don’t ride this train no more‘ in harmony whenever they come up. For the chorus (‘she don’t ride/she don’t take the things in stride‘) I would have the back-ups sing ‘ah’s‘ and maybe have a slow, rolling Hammond B3 come in. After a soulful saxophone solo, I could bring in a simplistic drum part in during the climax. Have the back-up singers sing ‘she don’t ride‘ while a soloist (either myself or one of my back-up singers) sings an improvised, riff-filled, gospelly solo on top. I’d bring it back down to bass and lead vocals for the last verse, maybe bringing the back-up vocals on an ‘ooh‘ for the last chorus.”

A weather-beaten topic like this is always in dire need of fresh sounds, so why not imagine the infinite cross-pollination possibilities of contrasting artists in your head! If you have a topic for “Under Covers” or know artists that you would like to cover or be covered, leave a comment about them below!

STRIPPING THE BED: QUIETED DOWN COVERS

Ever since Kris Allen covered Kanye West’s Heartless on

Kris Allen on Idol

Kris Allen on Idol

American Idol, I’ve been wondering “can you totally change the feel of a top song and still make it better?” In West’s case, Heartless has already been covered by 3 major players;  Mia Carruthers of MTV’s Taking the Stage, A.I‘s Kris Allen, and The Fray.  It seems every where I turn I am hearing songs I know with a totally different sound because simple versions of radio’s hit songs are taking over the airwaves and Internet.  Personally I want to switch out the over-synthesized versions for these stripped down, straight up awesome songs. So, clearly the answer is “yes.”

Boyce Avenue performing live!

Boyce Avenue performing live!

Is Madonna madness slowly killing your soul? Try Boyce Avenue‘s version of 4 Minutes. Love Rhianna but her songs too high energy for every occasion? Never fear, you can still enjoy SOS by The Last Shadow Puppets. Is Alicia Keys a little too soulful for you? Then maybe The Honorary Title’s cover of No One is more up your alley.

Max vs. Katy: You Decide!

Max vs. Katy: You Decide!

Perhaps you’re more into a guy singing about kissing a girlno worries, Max Vernon’s version of Katy Perry’s breakout hit reverses roles.

I’ve never been one for the bells and whistles. For me, there’s nothing like listening to an original spin on a popular work. That way I the rare bird communications major and resident country girl here at OurStage actually has something slightly underground or emerging to talk about around the water cooler. I feel a sense of pride when using lingo like “acoustic” and “cover.”  You see, my pop culturalized knowledge of music is comparable to a child coming into an anatomy class only knowing Head, Shoulders, Knees and Toes because they heard it at nursery school a zillion times. Having said that, I can truly appreciate songs that are a little lesser known, but still relevant. These cover songs are like the covers on my bed, making me feel secure and warm in a cold world of music majors and teenyboppers.

Later this week, you’ll be seeing a blog about songs composed by extraordinarily large bands written by my Community comrade, Aidan. He may argue the point that bigger is better. But I beg the question, “Isn’t less more?”. If something is good, its good, PLAIN and SIMPLE. No need to overcompensate with frills, bows and electric guitar. Stay tuned and see.  I’m sure you’ll be siding with me.