Cover Albums

 

The March 2022 issue of Classic Rock Magazine has its cover story on … covers.  “Covers” are when one musician plays a song by another musician.  Oddly, although Garage, Inc. (Metallica’s double covers album) is mentioned, there’s really no discussion of cover albums per se.  And as I can show you below, there are now plenty of them to talk about.

Morning and Evening.  When bands are starting out, they have to rely on covers until they hone the skills necessary to write acceptable quality material of their own, obviously drawing upon the inspiration of those covers.  The Beatles had gone to 100% originals by the third album, A Hard Day’s Night, but even Please Please Me (#1) and With The Beatles (#2) were less than 50% covers.  The Stones didn’t make it to 100% originals until Aftermath, their fourth album, and the first album had only one original.

Likewise, when the bands get older and run out of gas, rather than put out an album of substandard originals, it’s much easier just to do an album of covers.  Of course, it’s intriguing to hear how they put their mark on other bands’ music.  What I noticed, though, was most of these covers predate the band’s own material and – as Saxon explicitly acknowledge with the album title – were their inspirations.  What I rarely hear are any of these bands playing covers of their own peers and competitors.  Thus no Beatles covers on Blue & Lonesome, no Black Sabbath (and just a snippet of “Dazed and Confused” in a medley) on Turning to Crime, no Megadeth, Slayer or Anthrax on Garage, Inc. 

Here they are, listing the songs and the original artists.

Deep Purple, Turning To Crime.  The most recent of these.  Half are fairly obscure 50s tunes, the rest are more famous 60s tunes.

7 and 7 Is (Love); Rockin’ Pneumonia and the Boogie Woogie Flu (Huey “Piano” Smith); Oh Well (Fleetwood Mac); Jenny Take A Ride (Mitch Ryder & the Detroit Wheels); Watching The River Flow (Bob Dylan); Let The Good Times Roll (Louis Jordan & the Tympany Five); Dixie Chicken (Little Feat); Shapes of Things (Yardbirds); The Battle of New Orleans (Johnny Horton); Lucifer (Bob Seger); White Room (Cream); Caught in the Act (medley including “Dazed and Confused” (Led Zeppelin), “Hot ‘Lanta” (Allman Brothers))

Ace Frehley, Origins Vols 1 & 2.  The original lead guitarist for KISS.  These were released separately in 2016 and 2020.  He claims he’ll do a Vol. 3, but the story quoting him saying so isn’t dated.

Vol #1.  White Room (Cream); Street Fighting Man (Rolling Stones); Spanish Castle Magic (Jimi Hendrix); Fire And Water (Free); Emerald (Thin Lizzy); Bring It On Home (Led Zeppelin); Wild Thing (Troggs); Parasite (KISS – really a cover?); Magic Carpet Ride (Steppenwolf); Cold Gin (KISS); Till The End of the Day (Kinks); Rock and Roll Hell (KISS)

Vol #2.  Good Times Bad Times (Led Zeppelin); Never In My Life (Mountain); Space Truckin’ (Deep Purple); I’m Down (Beatles); Jumpin’ Jack Flash (Rolling Stones); Politician (Cream); Lola (Kinks); 30 Days In The Hole (Humble Pie); Manic Depression (Jimi Hendrix); Kicks (Paul Revere & the Raiders); We’ve Gotta Get Out of This Place (Animals); She (KISS)

Fu Manchu, The Covers.  I have this on vinyl, and have never seen it on CD.  It doesn’t show up on Amazon or eBay in either format, nor does their Wikipedia discography even mention it.  Apparently it was a limited release of 700 copies by the band itself.  As stoner rock bands go, FM have shorter, snappier, high tempo songs, often about skateboarding, so the punk influence is definitely front center, as the cover choices make clear. 

Who Are You (Void); Nothing Done (SSD); D.O.A. (Van Halen, not Bloodrock); When The Shit Hits The Fan (The Circle Jerks); Moving in Stereo (The Cars); Beach Blanket Bongout (JFA); Freedom of Choice (Devo); Godzilla (Blue Oyster Cult); Things Start Moving (Adolescents); Ride To Live (Live To Ride) (Twisted Sister); Six Pack (Black Flag); Words To Live By (Penance); Jailbreak (Thin Lizzy); Chevy Van (Sammy Johns).

Yngwie Malmsteen, Inspiration.  A few years back before the Saxon album.  YM plays large headstock Stratocasters with scalloped fretboards and took classical music into overdrive, blending it with obvious influences of Ritchie Blackmore, Uli Roth, and Jimi Hendrix, which makes their inclusion on this covers album a no-brainer.  Although he’s obviously talented and practiced those oddball scales rigorously, somehow he doesn’t seem to pull off more bluesier solos that well.  My recollection is that I got the UK album after hearing this one, the only track on the album I wasn’t already familiar with. That’s a prog super group with Allan Holdsworth (guitar), John Wetton (bass & vocals), Bill Bruford (drums), and Eddie Jobson (keyboards).

Carry On Wayward Son (Kansas); Pictures of Home (Deep Purple); Gates of Babylon (Rainbow); Manic Depression (Jimi Hendrix); In the Dead of Night (UK); Mistreated (Deep Purple); The Sails of Charon (Scorpions); Demon’s Eye (Deep Purple); Anthem (Rush); Child in Time (Deep Purple); Spanish Castle Magic (Jimi Hendrix)

Metallica, Garage, Inc.  Before this, they had “broken in” Jason Newsted with the $5.98 EP, Garage Days Re-Revisited (1987), before his bass was ignored on …And Justice For All.  Fast forward to 1998, when the band released Garage, Inc., which included the EP on disc 2 along with other previously released covers – including “Am I Evil” (Diamond Head) and “Blitzkrieg” (Blitzkrieg) which had been the b-sides of “Creeping Death” and tacked on to the Elektra version of their first album, Kill ‘Em All.  Then they went into the studio and recorded a whole CD worth of new covers, for a two disc set.  I like that they pick more obscure tunes instead of big hits.

Disc 1 (Freshly recorded):  Free Speech For the Deaf (Discharge); It’s Electric (Diamond Head); Sabbra Cadabra (Black Sabbath); Turn The Page (Bob Seger); Die, Die My Darling (Misfits); Loverman (Nick Cave); Mercyful Fate (Mercyful Fate); Astronomy (Blue Oyster Cult); Whiskey In the Jar (traditional, played by Thin Lizzy); Tuesday’s Gone (Lynyrd Skynyrd); The More I See (Discharge)

Disc 2 (previously released):  Helpless (Diamond Head); The Small Hours (Holocaust); The Wait (Killing Joke); Crash Course in Brain Surgery (Budgie); Last Caress/Green Hell (Misfits); Am I Evil? (Diamond Head); Blitzkrieg (Blitzkrieg); Breadfan (Budgie); The Prince (Diamond Head); Stone Cold Crazy (Queen); So What (Anti-Nowhere League); Killing Time (Sweet Savage); Overkill (Motorhead); Damage Case (Motorhead); Stone Dead Forever (Motorhead); Too Late Too Late (Motorhead) 

Monster Magnet, A Better Dystopia.  New Jersey's premiere stoner rock band.  Dave Wyndorf gave us this collection of mostly obscure tunes.  I would have preferred an entire album of Hawkwind covers – or least add in their earlier covers of “Brainstorm” and “The Right Stuff” – but at least he gives us the distinction of the only Hawkwind cover on any of these albums.

The Diamond Mine (spoken word intro); Born To Go (Hawkwind); Epitaph For A Head (Blackfoot); Solid Gold Hell (Scientists); Be Forwarned (Pentagram); Mr. Destroyer (Poobah); When The Wolf Sits (Jerusalem); Death (Pretty Things); Situation (Josefus); It’s Trash (Cavemen); Motorcycle (Straight To Hell) (Table Scraps); Learning To Die (Dust); Welcome To The Void (Morgen)

Motorhead, Under Cover.  Given that the man himself, Lemmy, already did “Motorhead”, “Lost Johnny” and “The Watcher” on both On Parole and Motorhead, I suppose Hawkwind songs weren’t going to show up here, though “Silver Machine” would have been cool. 

Breaking The Law (Judas Priest); God Save The Queen (Sex Pistols); Heroes (Bowie & Fripp); Starstruck (Rainbow); Cat Scratch Fever (Ted Nugent); Jumpin’ Jack Flash (Rolling Stones); Sympathy For The Devil (Rolling Stones); Hellraiser (Ozzy Osbourne); Rockaway Beach (Ramones); Shoot ‘Em Down (Twisted Sister); Whiplash (Metallica)

Ozzy Osbourne, Under Cover.  Yes, the same title as Lemmy’s.  Instead of Zakk Wylde, his guitarist on this is Jerry Cantrell of Alice In Chains.  Mike Bordin of Faith No More (who also played drums with Ozzy’s solo band, and Black Sabbath on the 1997 Ozzfest tour) is here on drums.  Ozzy gives us lots of hits from left field: a Beatles song, two John Lennon songs, King Crimson, and the hit the Moody Blues had before Justin Hayward and John Lodge joined and they became a prog band with Days of Future Passed, “Go Now”. 

Rocky Mountain Way (Joe Walsh); In My Life (Beatles); Mississippi Queen (Mountain); Go Now (The Moody Blues); Woman (John Lennon); 21^st Century Schizoid Man (King Crimson); All The Young Dudes (Mott the Hoople); For What It’s Worth (Buffalo Springfield); Good Times (The Animals); Sunshine of Your Love (Cream); Fire (Arthur Brown); Working Class Hero (John Lennon); Sympathy For The Devil (Rolling Stones); Changes (Black Sabbath – yes, like Ace, covering a song he was originally on)

The Rolling Stones, Blue & Lonesome.  Eleven years after their last album of original material, A Bigger Bang (9/5/05), the Stones come back with an album of exclusively blues covers.

Just Your Fool (Little Walter); Commit A Crime (Howlin’ Wolf); Blue and Lonesome (Little Walter); All of Your Love (Magic Sam); I Gotta Go (Little Walter); Everybody Knows About My Good Thing (Miles Grayson & Lermon Horton); Ride ‘Em On Down (Eddie Taylor); Hate To See You Go (Little Walter); Hoo Doo Blues (Otis Hicks & Jerry West); Little Rain (Ewart G. Abner Jr & Jimmy Reed); Just Like It Treat You (Willie Dixon); I Can’t Quit You Baby (Willie Dixon)

Rush, Feedback.  Back in 2007, fairly short – just an EP.  They did a tour for this album, which we saw, and for which some of the concert t-shirts were tie-dyes, with the 2112 Naked Man (who may or may not be the same naked guy from the Hemispheres cover) is now afraid of a peace symbol instead of a red star.

Summertime Blues (Eddie Cochran, but homage to The Who version, not the Blue Cheer version); Heart Full of Soul (Yardbirds); For What It’s Worth (Buffalo Springfield); The Seeker (The Who); Mr Soul (Buffalo Springfield); Seven and Seven Is (Love); Shapes of Things (Yardbirds); Crossroads (Robert Johnson/Cream).

Saxon, Inspirations.  Along with Iron Maiden and Def Leppard, among the trio of most successful New Wave of British Heavy Metal (NWOBHM) bands to emerge from the early 1980s and not merely survive but prosper, even if they aren't quite as famous or successful as the other two.  Biff & his comrades came out with this relatively recently.

Paint It Black (Rolling Stones); Immigrant Song (Led Zeppelin); Paperback Writer (Beatles); Evil Woman (Crow); Stone Free (Jimi Hendrix); Bomber (Motorhead); Speed King (Deep Purple); The Rocker (Thin Lizzy); Hold The Line (Toto); Problem Child (AC/DC); See My Friends (Kinks)

Tesla, Real to Reel (Discs 1 & 2).  Often lumped together with Motley Crue and Skid Row as a "hair metal" band, Tesla were less about image than about the music itself, with a sincerity that was sometimes borderline naive.  Disc 1 was sold outright in CD packaging allowing for two.  The second disc was given at the shows for that tour, which I saw at the Ram’s Head Live in Baltimore.  Frank Hannon himself was at the merch booth and give me the disc – and signed the insert.

Reel 1.  Space Truckin’ (Deep Purple); Walk Away (James Gang); Hand Me Down World (Guess Who); Bad Reputation (Thin Lizzy); Thank You (Led Zeppelin); I’ve Got A Feeling (Beatles); Day of the Eagle (Robin Trower); Ball of Confusion (Temptations); Rock Bottom (UFO); Stealin’ (Uriah Heep); Bell Bottom Blues (Derek & the Dominos); Honky Tonk Woman (Rolling Stones); Dear Mr. Fantasy (Traffic)

Reel 2.  All The Young Dudes (Mott the Hoople); Make It Last (Montrose); Shooting Star (Bad Company); Not Fragile (BTO); Street Fighting Man (Rolling Stones); It’s My Body (Alice Cooper); I Want To Take You Higher (Sly and the Family Stone); Do You Feel Like We Do (Peter Frampton); Beer Drinkers and Hell Raisers (ZZTop); Seasons of Wither (Aerosmith); Saturday Night Special (Lynyrd Skynrd); War Pigs (Black Sabbath)

UFO, The Salentino Cuts.  They started off with Mick Bolton on guitar for two space jam-type albums, then found Michael Schenker for five major seventies albums and a later trio of reunion albums; Vinnie Moore has been the guitarist for the last several albums.  The only constant member has been vocalist Phil Mogg, and they give us a rare gem: a LATER song, “River of Deceit” from Mad Season. 

Heartful of Soul (Yardbirds); Break on Through (The Doors); River of Deceit (Mad Season); The Pusher (Steppenwolf); Paper In Fire (John Mellencamp); Rock Candy (Montrose); Mississippi Queen (Mountain); Ain’t No Sunshine (Bill Withers); Honey-Bee (Tom Petty); Too Rolling Stoned (Robin Trower); Just Got Paid (ZZTop); It’s My Life (Animals).

As these are all experienced professionals, I didn’t hear any songs butchered, though I didn’t hear any where I felt they had improved on the originals.  In about 20% of the cases I was unfamiliar with the source material to make any kind of comparison anyway.  As a Monster Magnet fan, though, I was dissatisfied with Wyndorf’s choices; it seems he deliberately picked extremely obscure tracks to continue cultivating his “aren’t I cool?  I wear sunglasses at night” persona. 

Tribute Albums.  I suppose the opposite of a covers album, where one band covers all sorts of different bands’ songs, is a tribute album, in which all different bands cover one band’s songs.  The most recent was Blacklist, where Metallica’s 1991 self-titled, so-called Black Album, gets cover treatment by a host of bands outside their own genre.  The sad apart about it is that almost all of them make the original versions sound that much better.  It’s almost as if the band was thinking, “well, everyone seems to think we sold out on this album, but here are versions of our songs which are far more commercial than our own.  See how you like those.” 

Autograph

 Over the years I’ve been a music fan, and as such attended various concerts.  At a very small minority of those shows, I had the pleasure of meeting the musicians themselves and getting them to autograph various items.  However, I’m not in the habit of seeking out autographs, so the instances of doing so are so few and far between that I have little trouble in describing each of them in a brief, Friday blog entry.

RONNIE WOOD.  From 1979-1982 I attended Marymount, a Catholic school in Neuilly, just outside Paris, in that European country commonly referred to as “France”.  The school had an annual fair in the spring.  At the one in 1984 we acquired Judas Priest, Defenders of the Faith on cassette, and the Y&T albums Mean Streak and Black Tiger on vinyl.  At another one I had occasion to briefly meet Ronnie Wood, the second guitarist of the Rolling Stones.  One of his children was attending school.   By this time I was in high school at the American School of Paris, so his kid was not a classmate of mine.  I happened to be wearing a denim jacket which also – by coincidence – had the Rolling Stones lip & tongue patch on it.  Mr. Wood was nice enough to sign the patch itself.  Sadly, by now the signature has faded to the point I can no longer see it.  But he was cool.   As a side note, to date I have not seen the Rolling Stones in concert, nor have I seen Ronnie Wood in concert in any way, shape or form. 

FAITH NO MORE.   In November 1989 we attended the Faith No More concert at the old 930 Club, in Washington, DC, when it was still back on 930 F Street.  This was the band’s The Real Thing tour, when it had Mike Patton on vocals and Jim Martin on guitar.   I managed to persuade Jim Martin to sign my The Real Thing CD insert, and drummer Mike Bordin did so as well.  I wasn’t able to meet or talk to the other band members.  I still have that CD.

WISHBONE ASH.   This English band was at its peak in the 1970s, headlining larger venues like Merriweather Post Pavilion.  By the time I managed to see them, guitarist Andy Powell was the sole remaining original member, and they were playing small clubs instead of armpit heaters.  Of course, had they been playing an armpit heater, I would not be able to talk to Andy Powell in person and get him to sign my Wishbone Ash CD inserts.  Oddly, even years after the vinyl renaissance, those early albums are still not reissued.    

TESLA.   In 2007 the band released a CD of covers, Real to Reel, ostensibly a two disc set.  The second disc you picked up from the band itself on its tour.  I saw the tour at the Ram’s Head Live in Baltimore, Maryland.  Oddly enough, lead guitarist Frank Hannon was actually running the concession stand.  In addition to handing over my copy of the second disc, he also autographed the case.  Thanks, man!

BLUE CHEER.   Actually, I didn't come away from the BC encounter with any autographs, per se.  This is a band which had its initial peak of fame in the late 1960's, coming from San Francisco like the Grateful Dead, and even loosely associated with Owsley, the premiere source of LSD back then - even down to naming themselves after one of his strains.   Fast forward to modern times, and bassist/singer Dickie Peterson got the band back together with guitarist "Duck" MacDonald.  While this lineup did play classic material - exclusively of the Leigh Stephens era, it seems - Dickie put out new material that was heavier and more modern - and just as enjoyable. The band played a show at Krug's Place in Frederick, Maryland, in December 2005, and my college comrade Ken invited me along.  I managed to get my picture taken with Dickie, which is the primary picture for my Facebook profile.  

MEET & GREETS.   As noted, my own experience meeting rock stars has been rather limited.  My brother Matt, on the other hand, has been to several meet & greets and thus had a chance to hang out with, and talk at length with, various rock stars.  These include Doro (from Warlock), Ace Frehley (of KISS), and Biff Byford of Saxon.  He spoke with Pete Trewavas of Marillion.  He was also at the Faith No More show mentioned above.  

One last name drop: back when we were living in Paris, our parents met up with Martin Sheen.   This wound up with my sister, Sarah, visiting the Sheens in California and hanging out with Emilio Estevez.  I don't think Charlie was around the household back then.  

Acoustica

On the way back from Fort Lee, I stopped by the Park City Mall in Lancaster, Pennsylvania and picked up Grateful Dead’s Reckoning album, the acoustic live album paired up with Dead Set – which I’d bought a few years ago mainly because it has “Brokedown Palace”, a great tune from American Beauty. 

This was my second attempt to listen to this album, the first was in high school in Paris in the early 1980s.  At that time I plunked down the vinyl, preparing to hear some totally bad-ass music.   I mean, with a name like Grateful Dead and a skull and crossbones on the cover, and an album called Reckoning, we’re talking melting your face off like “Raiders of the Lost Ark”, right?

WRONG.   I couldn’t even get through “Dire Wolf”, the first song, before I took it off in disgust.  What the hell is this???   I gave the album to my buddy Sean C, and that was it for the Dead for a long, long time.   It wasn’t until Anthem of the Sun, which sounds Duane Allmann-y, that I could finally digest the acid country of the Dead.   This must have been in the early 00’s.   Yet I even saw GD w/Jerry Garcia in 1992 and 1995, so go figure.

This time around?  Well, I survived all the way to the last track, “Ripple” (also from American Beauty), though the “Bird Song” on here is underwhelming compared to the Fillmore East show in 1971 with the Beach Boys.  “Dire Wolf” is still not my favorite: “please….don’t murder me!”  Hardly a good theme song for the Stark family. 

As of right now, I have several electric guitars and no acoustics, not even a 12 string.  I really don’t like playing acoustic guitars.  A bulky body and super high action?  No thanks.  I can select clean channel on the Marshall and the neck pickup on an electric, turn on the chorus pedal, and that’s the sound I need.  Authentic?  Maybe not.  But it’s right.  And face-melting distortion is a footswitch away.  Acoustic guitars became mostly obsolete when Fender brought out the Broadcaster/No-Caster/Telecaster in 1948. 

I really do not like acoustic sets.  Let me articulate further with some examples.

Scorpions.  They did an acoustic album, Acoustica, AND an unplugged show in Athens, Greece fairly recently for MTV.   No sign of Michael or Uli, but Rudy pulled out his acoustic Flying V.  The highlight was “Born To Touch Your Feelings”, from Taken By Force.  Boring? No.  Tolerable?  Sure.  Exciting – and as good as the Wacken show with Uli Roth?  No way in Hell. 

Tesla.  Their Five Man Acoustical Jam (1990) started this nonsense way back when.  A few songs, like “Signs” and “Truckin” were OK, but mostly they butchered their awesome electric songs by making them acoustic.  Which is even more baffling because they’re named after Mr. Electric himself, Nikola Tesla.  Brian Wheat claims they resisted the idea, but apparently someone prevailed.  Fortunately they’ve been 100% electric since then, so Tesla himself can stop spinning in his grave, providing alternating current somehow.

Led Zeppelin III.  Tolerable.  The songs are… OK.  My favorite on here is “Since I’ve Been Loving You” – electric – and of the other two electrics, “Out on the Tiles” sucks a whole herd of donkeys, whereas “Immigrant Song” is …OK.  I like the Viking theme.  Granted, Page’s acoustic stuff is what makes Zeppelin so well-rounded, but I can take it in small doses only: the intro to “Stairway”, “Ten Years Gone”, etc., not a barrage of folk songs like III.

Alice In Chains.  Jerry Cantrell has some rare skill:  he can write original acoustic stuff that doesn’t suck.  SAP and Jar of Flies are both albums (EPs, sorry) which I listen to as often as any of their electric stuff.

Ultimately I find acoustic guitars boring and pretentious.   Remember that scene in the movie “Animal House”, where the guy on stairs sings, “I gave my love a cherry, that had…no…pit…” and Bluto (Belushi) comes by and smashes his guitar?  To me anyone with an acoustic guitar is “that guy”, and my inclination is the same as Bluto’s.  Don’t be “that guy”.

Tesla Returns

I first learned about Tesla through an unlikely source: a five-piece metal band from Sacramento, California, by the same name, who burst into the public spotlight in 1987 with their first album (and still their best), Mechanical Resonance. We saw them open up for Def Leppard that spring, and then much later in May 2004 when they reunited after a long break. Sure enough, the band was very much into the Serbian-American inventor; he figures in album names (The Great Radio Controversy, Psychotic Supper), and has center stage, so to speak, in their song "Edison’s Medicine".

 Nikola Tesla was born in July 1856 in Croatia, at the time part of Austria-Hungary. He moved to the US in 1884, became naturalized in 1891, and lived in the US ever since, dying destitute and alone in New York City in 1942. He started out working for Thomas Edison, but quickly broke apart from him and developed an intense rivalry with the American inventor. The main point of this was Tesla’s adherence to alternating current (AC), which he and Westinghouse supported, vs. direct current (DC), which Edison championed. The electric chair was developed by Edison as a publicity stunt to show how dangerous AC was. In addition to a wide variety of inventions and work in electrical engineering, Tesla is the de facto (and, by US Supreme Court decision in 1943, de jure) father of radio. He was somewhat of a maverick and fell out of public attention and favor for much of the rest of his life; he was written off as a "mad scientist", working on a "death ray" and various other revolutionary inventions, some of which may have been nothing more than dead ends, others being too far ahead of their time. Tesla is certainly one of the more intriguing scientists of the modern era.

 A more recent spotlight on Tesla comes from the new film, "The Prestige", featuring Hugh Jackman and Christian Bale as competing magicians, Michael Caine as their mentor, Scarlett Johanssen as their mutual love interest, and David Bowie as Tesla himself. Jackman’s character ventures to Colorado Springs, and discovers that Tesla has managed to electrify not only the local hotel, but also the entire town. His assistant demonstrates wireless transmission of electricity, and Tesla ultimately builds an extraordinary machine for Jackman to use in his magic show.