In popular music, the cover version , cover song, or just cover, is a performance or a new recording by someone other than the original artist or recorded song composer previously, commercially released.
Before the beginning of rock 'n' roll in the 1950s, songs were published and some recorded songs may be brought by the singers that day, each giving it individual treatment. The cover version can also be released as an attempt to revive the popularity of the song among the younger generation of listeners after the popularity of the original version has long declined over the years.
Sometimes, the cover can become more popular than the original, such as the Elvis Presley version of Carl Perkins's original "Blue Suede Shoe", a Santana version of 1970's Peter Black's and Fleetwood Mac's 1968 "Black Magic Woman", a Johnny Cash version of the Nine Inch Nails "Hurt," Whitney Houston's version of Dolly Parton's "I'll Always Love You" and George Benson "The Greatest Love of All", Glenn Medeiros of George Benson "Nothing Will Change My Love for You" or Bob Dylan's Jimi Hendrix " All Along the Watchtower ". The recording of Hendrix, released six months after Dylan's original, became the UK's Top 10 single in 1968 (US number 20) and was ranked 48th in the Rolling Stone 500 Greatest of All Time Album. Another notable example is the Beatles cover of "Twist and Shout", originally by Top Notes, and their cover song, "Til There Was You", by Meredith Willson, among many others.
Video Cover version
Histori
The term "cover" goes back to the decade when the cover version originally described a rival version of the recorded song to compete with the newly released version (original). The Chicago Tribune described the term in 1952: "jargon trading which means recording a song that looks like a potential hit on someone else's label". Examples of footage included include Paul Williams '1949 hit song "The Hucklebuck" and Hank Williams' 1952 song "Jambalaya". Both cross to popular Hit Parade and have many hit versions. Prior to the mid-20th century, the idea of ​​a popular version of the popular song would seem a bit strange - the production of musical entertainment was seen as a live event, even if it was reproduced at home through a sheet of music copy, studied by heart or recorded on a record. In fact, one of the main objects of publishing sheet music is having the compositions done by as many artists as possible.
In previous generations, some artists have made a very successful career in presenting revivals or reworking of previously popular songs, even out of the contemporary cover version of current hits. Musicians now play what they call "cover versions" (rework, updates or interpretations) of songs as a tribute to an original player or group. Using familiar material (such as green hits, standard songs or classical recordings) is an important method of learning the style of music. Until the mid-1960s, most albums, or long play notes, contained a large number of evergreens or standards to present a more complete range of artist abilities and styles. (See, for example, Please Please Me .) Artists can also interpret ("cover") from favorite artist's hit songs for simple fun playing familiar songs or song collections. The cover band plays a "cover version" exclusively.
Currently, three major types of entertainers rely on the cover version for their main repertoire:
Tribute acts or bands are players who make a living by recreating music from one particular artist or band. Bands like BjÃÆ'¶rn Again, Led Zepagain, The Fab Four, Australian Pink Floyd Show, The Iron Maidens and Glory Days are dedicated to playing ABBA music, Led Zeppelin, The Beatles, Pink Floyd, Iron Maiden and Bruce Springsteen respectively.. Some honors acted salute to Who, The Rolling Stones and many other classic rock action. Many acts of action tribute acts that remain popular but no longer perform, allowing viewers to experience the "next best thing" for genuine action. The formation of a reverential act is roughly proportional to the eternal popularity of the original action; for example, dozens of Beatles tribute bands have been formed and entire sub-industries have formed around Elvis imitation. Many tribute bands are trying to recreate other loyal band music as possible, but some such bands introduce touch. Dread Zeppelin performs a reggae version of the Zeppelin catalog and Beatallica creates a fusion of heavy metal songs by The Beatles and Metallica. There are also situations in which the bands of honor will proceed to greater success, sometimes with the original action they tribute. One noteworthy example is the Owens "Ripper" Team who, after the lead singer of Judas Priest's band, British Steel, went on to join Judas Priest himself.
Cover act or band is an entertainer who performs a wide range of cover songs that appeal to an audience that enjoys familiarity of hit songs. Such bands draw from the top 40 hits and/or the previous decades to provide nostalgic entertainment in bars, on cruises and at events such as weddings, family celebrations and corporate functions. Since the advent of low-cost computers, some cover bands use computerized song catalogs, so singers can have lyrics of songs displayed on computer screens. The use of the screen for lyrics as a memory aid can dramatically increase the number of songs a singer can perform.
Artist or revivalist bands are players who are inspired by the entire genre of music and dedicate themselves to curation and re-create the genre and introduce it to young audiences who have not experienced the music directly. Unlike band tribute and band cover that relies primarily on viewers who are looking for a nostalgic experience, revivalist bands are usually looking for new young audiences whose music is fresh and has no nostalgic value. For example, Sha Na Na began in 1969 as a doo-wop music celebration of the 1950s, a musical genre that was not originally fashionable during the hippie-era counter-culture. The Blues Brothers started in 1978 as a live salute for blues, soul and R & amp; B in the 1950s and 1960s that were not favored by the late 1970s. The Blues Brothers' belief is that they are "on a mission from God" as evangelists for blues and soul music. The Black Crowes formed in 1984, originally dedicated to reviving the blues-rock style of the 1970s. They began to write their own material in the same tone.
Maps Cover version
AS. copyright law
Since the Copyright Act of 1909, United States musicians have the right to record the recorded versions of other people previously recorded and released, whether it be their own music or music with lyrics. License may be negotiated between the representatives of the interpreting artist and the copyright holder, or the recorded song may fall under a mechanical license in which the recording artist pays a standard royalty to the original author/copyright holder through organizations such as Harry Fox Agency. , and secure under copyright law even if they do not have permission from the original author. A similar service was provided by Limelight by RightsFlow, until January 2015, when they announced that they would close their services. The US Congress introduced a mechanical license to stop the Aeolian Company's efforts to monopolize the piano roll market.
Although a composer can not refuse a mechanical license for a new recording version, the composer has the right to decide who will release the first recording of a song. Bob Dylan took advantage of this right when he refused his own record company the right to release a live recording of "Mr. Tamborine Man". Even with this, cover versions of pre-release songs can sometimes occur.
Live performances of copyrighted songs are usually organized through the implementation of rights organizations such as ASCAP or BMI.
The early history of the 20th century
Multiple versions in different formats or locations
At the beginning of the 20th century it became common for record companies to record singers or musicians "mask" "success" commercially hit songs by recording a version for their own label in the hope of cashing in on the success of the song. For example, Is not She Sweet was popularized in 1927 by Eddie Cantor (on stage) and by Ben Bernie and Gene Austin (in the notes), was repopulated through a popular tape by Mr. Goon Bones & amp; Mr. Ford and Pearl Bailey in 1949, and then still revived as 33 1/3 and 45 RPM records by the Beatles in 1964.
Because a little promotion or advertising takes place in the early days of recording production, in addition to the local music hall or music store, the average buyer who buys a new record usually asks for a tone, not an artist. The distribution of recording is highly localized, so popular local artists can quickly record versions of hit songs from other areas and reach an audience before the version by artist (s) who first introduced the song in a specific format - "original", "introduction" or artist "popularized "- is widely available, and the highly competitive recording company is quickly exploiting these facts.
Rivalries and popularized recordings
This began to change in the late 1930s, when the public who bought the recording began to start including the younger age group. During the Swing era, when a bobby midfielder went in search of a recorded song, say "In the Mood", he usually wanted a version popularized by his favorite artist, Glenn Miller's version (on the less expensive Bluebird label of RCA Victor), does not belong to anyone else (sometimes served on the more expensive label labels). This trend is marked closely by charting of record sales by different artists, not just hit songs, in Hit Parades music industry. However, for a strong commercial reason, record companies are still recording versions of songs that sell well. Most of the audience until the mid-1950s still heard their favorite artist playing live music onstage or via radio. And since radio shows are mostly aimed at local audiences, there are rarely artists in one area to reach a mass audience. Also radio stations tend to cater to a vast audience market, so an artist in one channel may not be broadcast at another station devoted to a defined audience. Once the popularity of jazz, country and western versions or rhythm and blues, and vice versa, is common. Consider Mack the Knife (Die Moritat vom Mackie Messer): this comes from Bertholt Brecht 1928 Die Dreigroschenoper. It was popularized by the 1956 recording of Instrumental Instrumental Hit, instrumental tone, Moritat for Dick Hyman Trio, also recorded by Richard Hayman & amp; Jan August, but also a hit for Louis Armstrong 1956/1959, Bobby Darin, 1959, and Ella Fitzgerald, 1960, as vocal versions of Mack The Knife.
Radio Luxembourg Europe, like many commercial stations, also sells "air time"; so record companies and others buy broadcast time to promote their own artist or product, thus increasing the number of available versions of any track record. Add this fact that many radio stations are limited in their "needle time" allowed (the number of recorded music they are allowed to play), or set on the amount of local talent they should promote in live events, as do most national stations like the BBC in English.
Incentives to create duplicate versions of a recording of a song
In the US, unlike most other countries, broadcasters pay royalties to authors and publishers. Artists are not paid royalties, so there is an incentive to record many versions of the song, especially in different genres. For example, King Records often cut rhythm and blues and western novelty songs such as "Good Morning, Judge" and "Do not Roll the Bloodshot Eyes at Me". This tradition was expanded when rhythm and blues songs began to appear on the pop music charts.
In the early days of rock and roll, many songs originally recorded by R & amp; B and country musicians are still re-recorded in a tone that is more popular by other artists in a more loud or professional style. This is inevitable because radio stations are reluctant to play a format beyond the appetite of their target audience. By far the most popular music style in the mid 1950s/mid 1960s was still a professional light orchestra, therefore popular recording artists searched for that format. For many puritans, these popular versions lack the raw roughness of the artists who introduced the original.
Most do not have the praise of rebel teenagers, street credibility - rock and roll music; mostly done, and some written, by black artists that are not heard in the popular mass entertainment market. Most parents think the popular cover version is more suitable for a mass audience of parents and their children. Artists targeting a white family audience are more acceptable to programmers on most radio and TV stations. Singer and songwriter Don McLean called the cover version "racist". Many parents in the 1950s - 60s, whether deliberately racist or not, felt deeply threatened by the rapidly changing social. They, for the most part, share entertainment with their parents in a way that their children become reluctant to do. Jukeboxes and personal note recorders are still relatively expensive pieces of machinery - and portable radios are a wonderful new thing, allowing muscular teenagers to shut down.
Songs by introducing or "authentic" niche market artists who became successful on mass audience graphs Hit Parade called crossovers because they "crossed" from targeted countries, jazz or rhythm audiences. Also, many songs originally recorded by male artists are re-recorded by female artists, and vice versa. Such cover versions are also sometimes called cross cover versions , male cover , or women's cover
Reworking non-English songs and lyrics for the Anglo-Saxon market was once a popular part of the music business. For example, the worldwide hit 1954 The Happy Wanderer originally was Der frÃÆ'¶hliche Wanderer , for this to be added Hymne a l'amour , Mutterlein > , Volare , Seeman , "Quando, Quando, Quando," L'amour est bleu , etc.
The modern cover version
The cover version of many popular songs has been recorded, sometimes in very different styles, sometimes almost indistinguishable from the original. For example, Sir Mix-a-Lot's 1992 rap "Baby Got Back" was covered by indie rock singer Jonathan Coulton in 2005, in a soft rock acoustic style. The Coulton cover was then closed, without attribution, in 2013 by the Glee show, and is so similar that Coulton, among other things, allegedly plagiarized his arrangements. Some recording producers or artists can also register for replay sample company services such as Titan Tribute Media or Scorccio, to mimic the original recordings with precise detail and accuracy.
Songs can be included in other languages. For example, in the 1930s, footage of Island Capri in Spanish, by Osvaldo Fresedo and singer Roberto Ray, is known. The German 1982 Falco hit "Der Kommissar" is covered in English by After the Fire, although the German title is retained. The English version, which is not a direct translation of Falco's original work but retains much of its spirit, reaches the Big 5 on the US charts. "The Lion Sleeps Tonight" evolved over the decades and versions of the 1939 song Solomon Linda a cappella . Many of the hits of singer Laura Branigan of the 1980s are English songs of songs that have been successful in Europe, for the American recording market. Many English covers have "99 Luftballons" by German singer Nena (especially one by the punk band Goldfinger), which Nena has recorded himself following the success of the original German version. "Popcorn", a song that was originally highly instrumental, has lyrics added in at least six different languages ​​on various covers. During Cantopop's heyday in Hong Kong in the late 1970s and early 1990s, many hits include English and Japanese titles that have gained international fame but with local lyrics (sometimes several sets of lyrics sung in the same tone), and critics often reprimand the music industry from the short quiz-song process.
Although modern cover versions are often produced for artistic reasons, some aspects of dishonest spirit â € <â €
In 2009, the American musical comedy series Glee made its debut, featuring several musical per episode performances. The series features just the cover of a song performed by the series titular genre club until near the end of the second season with the episode "Original Song". The series still uses cover songs from both chart hits and displays songs, sometimes as mashups or different variations. The show's musical performances have been commercially successful, with over twenty-one million copies of Glee releasing a single digitally purchased release, and more than nine million albums purchased worldwide.
Update old songs
The cover version (like the term now used) is often a contemporary version of familiar songs. For example, "Singin 'in the Rain" was originally introduced by Cliff Edwards in the movie The Hollywood Revue of 1929 . The famous version of Gene Kelly is a revision that has brought it to date for the 1950s Hollywood musicals, and was used in the 1952 movie Singin 'in the Rain . In 1978, it was covered by French singer Sheila accompanied by group B. Devotion, as a disco song, once again updating it to fit the taste of the music of that era. During the disco era there was a tendency to pick up famous songs and record them in disco style. Recently "Singin 'In the Rain" has been covered and remixed by British acting Mint Royale for television commercials for Volkswagen. Another example of this, from a different angle, is the song "Blueberry Hill", many of which mistakenly believe that Fats Domino 1956 was released as an original recording and artist. Actually, it was originally introduced to the movie by Gene Autry and popularized on the 1940 Hit Parade record by Glenn Miller. The Fats Domino version rock and roll is the only one that may currently get broadcasted in most media. Similarly, "Unchained Melody" was originally performed by Todd Duncan, featured in the 1955 film Unchained (based on Kenyon J. Scudder's Non-Fictional Prisoners People's Story); Al Hibbler has the largest number of record sales in the world for vocal versions with the cover version of Jimmy Young that rival this in the UK, Les Baxter's Orchestra gained huge instrumental sales, reaching US number one Hit Parade in May 1955, but the version of The Righteous Brothers' (the top five in the US Hit Parade in September 1965 which stopped at number 14 in the UK in August) is by far the wider version known, and mainly due to his appearance in the 1990 film Ghost . House of the Rising Sun has hundreds of versions and in many genres like folk, blues rock and punk as well as dance and dubstep.
Director Baz Luhrmann has played and polished old songs for use in his films. New versions or covers like John Paul Young's "Love Is in the Air" appear in Strictly Ballroom, Staton Temple "Young Hearts Run Free" appear in Romeo Juliet , and adaptations artists like Nat King Cole, Nirvana, Kiss, Elton John, Thelma Houston, Marilyn Monroe, Madonna, T. Rex, David Bowie, Queen and The Police are used at Moulin Rouge! The cover is carefully designed to fit the structure of each film and to the tastes of the intended audience.
Other artists released new versions of their previous songs, such as the German singer Nena who recorded the entire album with great success, with a new version of the old song. The cover song can be used to display the creativity of a player who works through other artist's previous artistic talents. Not to be confused with Remix, which is defined as altering or distorting the original sound electronically; Cover Version gives players the ability to customize music in their own style, usually allowing them to change the song genre and create it according to their own taste. For example, in 2008, Fall Out Boy covered Michael Jackson's hit song "Beat It", changing the genre from pop rock to punk rock nuance. It is more common with the cover of today, taking on older popular music and changing it to compare to modern popular music. The cover of Aretha Franklin from Otis Redding's "Respect" was voted the biggest cover song of all time, according to Forbes.com.
See also
References
External links
- Cover, Cover Song, Song Ladder Cover, and Music Talent Community
- Best of, YouTube Cover in best quality
- Best YouTube Cover
- Closing Project
- Use the cover version of the song legally, the US Music Copyright Act from cleverjoe.com
- coverinfo.de - a cover database and music quote
- Metamuse - Remix and cover song database
- Guilty Pleasure from Cover Version
Source of the article : Wikipedia
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