August 7, 2006 by A.S. Van Dorston

Covers are tricky beasts. Few artists have taken a classic song and made it better. Only a few have completely owned it. Such as Aretha Franklin’s cover of Otis Redding’s “Respect,” or Jimi Hendrix’s blazing cover of Dylan’s “All Along The Watchtower.” The best most artists can hope for is to do a great song justice by redefining it in their own style. Husker Du’s version of The Byrds’ “Eight Miles High” doesn’t eclipse the original. But it’s certainly an awesome statement of purpose that’s held up.

In attempting an album full of covers, there’s a fine line between making a statement and coming off like a bar band. Metallica, for instance, made that balance by paying homage to their influences while still maintaining their original sound. A few months ago, Def Leppard released Yeah! in tribute to their 70s glam influences. Coming from a band that hasn’t released anything great arguably in nearly 20 years, it could seem like a desperate attempt to revitalize sales during a creative slump. Slump or not, the selection and performances are pretty great. The diverse covers of songs by T. Rex, Thin Lizzy, Badfinger, Tom Petty, Electric Light Orchestra, Blondie and the Kinks convincingly come off as affectionate homages. The band occasionally loses its own voice and sounds a bit too similar to the originals, but they really come alive in the clever arrangments of “Waterloo Sunset” and ELO ’s “10538 Overture.” A bonus disc includes some kickass versions of The Stooges’ “Search & Destroy,” Bowie’s “Space Oddity” and Jobriath’s “Heartbeat.” Overall, there are more great songs here than any of their original albums.

Huun-Huur-Tu and Yat-Kha founder Albert Kuvezin shows that one can maintain impeccible taste even in the isolated mountains and plateus of Tuva. If you’re not familiar with the majestic power of traditional Tuvan throat-singing, Yat-Kha’sRe-Covers might inspire giggles as it could resemble a bizarre hybrid of the Cookie Monster and Killdozer. Covers of Led Zeppelin, The Stones, Hank Williams, Santana and Bob Marley are solid but predictable. But the more inspired choices seem to ignite the most passion, from Iron Butterfly’s “In-A-Gadda-Da-Vida” to Kraftwerk’s “Man Machine,” Joy Division’s “Love Will Tear Us Apart,” Motorhead’s “Orgasmatron,” and Captain Beefheart’s “Her Eyes Are A Blue Million Miles.” You certainly won’t mistake them for the originals.

Nouvelle Vague are different in that they do nothing but covers. Bande A Part is the second album of post-punk and new wave songs. There’s no doubt that it’s gimmicky. They use a variety female singers and set the tunes to laid back Brazilian bossanova rhythms. Of the three albums here, it’s the most throwaway. But it also probably has the widest appeal, as its breezy, summery feel works great for background music for cocktail parties. No doubt you’ll be hearing it on the PA while shopping soon enough. The “Killing Moon” (Echo & the Bunnymen), “Dancing With Myself” (Billy Idol), “Blue Monday” (New Order) are predictable choices after their previous album. But you’ve got to smile at the demented versions of “Human Fly” (The Cramps) and “Bela Lugosi’s Dead” (Bauhaus). The highlight is probably the sexy, almost Prince-like arrangement of Blondie’s “Heart Of Glass.” The biggest pleasant surprise is the underappreciated “Escape Myself” by The Sound.