A sucker for cover songs

NPR’s Happy Hour pop-culture podcast delves into one of my favorite topics this week: cover songs. I gotta admit -- I love ‘em. If you scrolled my music collection by song title, you’d see what looks like a lot of duplicates. In most cases these are different remixes of the song or different versions of the song performed by another artist.

I’m really a sucker for both categories, probably for the same reason in each case. I love to see a song stripped down to its elemental components and built back up from scratch. When done right, the core DNA remains, but the work is entirely new. This is especially true for cover versions, where the recording artist puts a new spin on the piece, imbibing a familiar tune with new life. (From a communitarian perspective, covering a song is also an act of tribute, honoring fellow artists and keeping past works alive for a new generation of listeners.)

Sometimes, the result doesn’t quite work –- a college friend once became vocally enraged when I played the Pet Shop Boys’ version of U2’s “Where the Streets Have No Name.” In other cases, the result is meh -- the cover doesn’t add much of anything to the original. Case in point: Erasure’s cover of the Blondie classic “Rapture.”

But in many cases, the result is something wonderful, such as Adele’s cover of the Cure’s “Lovesong.” And in some rare cases, the result is something close to magical, where the cover outshines the original. Gary Jules’ hauntingly beautiful cover of Tears for Fears’ “Mad World” is a prime example. (This version was featured in the cult classic movie Donnie Darko, which I highly recommend.)

My love of cover music is probably what drew me to the Glee in its early days, when the show still performed interesting new arrangements of music rather than simply replicating the original arrangement.

Fortunately, I live in the age of the Internet, where a person can indulge any fetish. In this case, The Covers Project ought to keep me occupied for awhile.