PopMatters is moving to WordPress in December. We will continue to publish on this site as we work on the move. We aim to make it a seamless experience for readers.


Matthew Sweet and Susanna Hoffs: Under the Covers, Vol. 1

Whitney Strub

With the warmth of the sun beating down on a Sunday Morning, these power-pop veterans swoon lovingly through a collection of 1960s covers. And these birds can sing.

Matthew Sweet and Susanna Hoffs

Under the Covers, Vol. 1

Label: Shout! Factory
US Release Date: 2006-04-18
UK Release Date: 2006-05-01
iTunes affiliate

Covers albums, at their best, provide dual pleasures: first, they defamiliarize the known, adding personal flourishes to songs we already know; second, they introduce less recognizable material, recovering pieces of musical history while letting us better understand the concealed influences of the cover artist. Cynics might dismiss the covers album as a shallow cash grab or churned-out contract filler, and no doubt cases in point are ubiquitous, but a good one requires delicate care in both song selection and presentation. Stick with the canonical and the album will be an unadventurous bore; restrict yourself to esoterica and you'll alienate most listeners. Meanwhile, adhere too closely to the original versions and you'll sound like a bland bar band or an American Idol contender cut in the first round; wander too far into deconstructive fancy and your own pretentiousness may drown out the source material.

All of which is a lot to contemplate, unless it just comes to you naturally, as it apparently does for Matthew Sweet and Susanna Hoffs, who glide through Under the Covers, Vol. 1 with graceful charm. The two make a great team, having honed their chops together playing in the filmic Ming Tea, in-house band for the Austin Powers movies -- perhaps not the most prestigious gig around, but this is not a duo lacking in power-pop street cred. Sweet has peddled his melodic wares for over two decades, and if he's a long way from his early '90s glory days of Girlfriend, he's never lost the faith of the devoted; Hoffs, of course, led the delightful Bangles, a group written off only by knee-jerk '80s-bashers. On Under the Covers they rightly sound like they have nothing to prove and want only to groove.

Sweet and Hoffs -- recording, for no particular reason, as Sid and Susie -- certainly bring the hits, though they're careful to avoid bombarding us with the same singles we hear ten times a day on oldies stations. Thus when the Beatles arrive, as we knew they would, it's in the form of "And Your Bird Can Sing", from Revolver. The only conceivable criticism one could level at the original is a certain hint of smarminess as the Fab Four compare notes about their "birds", but with Hoffs at the vocal helm the groupie-collecting undercurrent is flushed away in the riptide rush of her pristine voice. One can overcorrect the historical masculinism of rock; when Tori Amos took on male personae on Strange Little Girls it didn't just function as a tract on gender roles, it sounded like one. But Sweet and Hoffs feminize the Beatles with good humor; as the cheeky liner notes admit, "in Susie's opinion, 'bird' is one of the greatest slang terms for girl ever!"

Also adorning Under the Covers's selections are several more Hall-of-Fame-level luminaries. Sid and Susie sweeten the rougher edges of Bob Dylan's "It's All Over Now, Baby Blue", draining it of the ambiguously tender snarl that somehow left lines like "forget the dead you've left" sounding simultaneously bitter and affectionate; their precedent seems instead to be the Byrds' version of the song. But if uncomplex, their cover is nonetheless delightful, with Hoffs' harmony vocals filling in for anything lost in translation. Likewise, these two are too perky to replicate Nico's hauntingly vacant vocals on the Velvet Underground's "Sunday Morning", but they give the song a warm, comforting take that looks past the heroin and kink to recover the pop songwriter hidden inside Lou Reed.

Throughout, Sid and Susie alternate lead vocals, intertwining gorgeously on harmonies but generously stepping aside when songs call for it; thus Sid dominates the Beach Boys' "Warmth of the Sun", while Susie absolutely nails the Linda Ronstadt lead on the Stone Poneys' "Different Drum". Sid plays most of the instruments, with help from some longtime power-pop allies. Richard Lloyd of Television assists on guitar, ripping through a classic one-note Neil Young solo on "Cinnamon Girl", while Velvet Crush drummer Rick Menck leaves his toms looking like lunar surfaces after giving them a Keith Moon pounding on the Who's "The Kids Are Alright".

Stepping away from the hit parade, Sid and Susie also dish up a healthy platter of less-famous ditties. Music geeks will swoon over the chamber-pop bliss of "Care of Cell #44", from the Zombies' impeccable Odessey and Oracle, and Love's "Alone Again Or" makes for a somewhat more obvious but no less splendid choice. The heroic duo even bravely slows things down for the less immediate rewards of Sandy Denny's Fairport Convention song "Who Knows Where the Time Goes?" Then there's the even more obscure: "I See the Rain" commences the album, a glorious 1967 single from forgotten band the Marmalade, while the Left Banke shows up not in the predictable form of "Walk Away Renee" but "She May Call You Up Tonight", a welcome bit of musical archeology. The Bee Gees' "Run to Me" may be a poor choice to end the album, not because it isn't wonderful, but because choosing a song from 1972 when Under the Covers is described as a "veritable '60s pop primer" in press material means Sid and Susie neglected the many splendors of the Bee Gees' 1969 masterpiece Odessa (if there is a Vol. 2, I nominate "Never Say Never Again" to compensate!).

That's a small complaint; the only other one worth leveling is that the Mamas and the Papas' "Monday Monday" drifts by without leaving much impression, clearly not one of Hoffs' more manic Mondays. Under the Covers may not deliver any jarring surprises (no selections from the Mothers of Invention or Blue Cheer), but it's a loving tribute to 15 unimpeachable songs, narrated by two skilled and knowledgeable tour guides.


Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology provider that we have until December to move off their service. We are moving to WordPress and a new host, but we really need your help to fund the move and further development.





Jefferson Starship Soar Again with 'Mother of the Sun'

Rock goddess Cathy Richardson speaks out about honoring the legacy of Paul Kantner, songwriting with Grace Slick for the Jefferson Starship's new album, and rocking the vote to dump Trump.


Black Diamond Queens: African American Women and Rock and Roll (excerpt)

Ikette Claudia Lennear, rumored to be the inspiration for Mick Jagger's "Brown Sugar", often felt disconnect between her identity as an African American woman and her engagement with rock. Enjoy this excerpt of cultural anthropologist Maureen Mahon's Black Diamond Queens, courtesy of Duke University Press.

Maureen Mahon

Ane Brun's 'After the Great Storm' Features Some of Her Best Songs

The irresolution and unease that pervade Ane Brun's After the Great Storm perfectly mirror the anxiety and social isolation that have engulfed this post-pandemic era.


'Long Hot Summers' Is a Lavish, Long-Overdue Boxed Set from the Style Council

Paul Weller's misunderstood, underappreciated '80s soul-pop outfit the Style Council are the subject of a multi-disc collection that's perfect for the uninitiated and a great nostalgia trip for those who heard it all the first time.


ABBA's 'Super Trouper' at 40

ABBA's winning – if slightly uneven – seventh album Super Trouper is reissued on 45rpm vinyl for its birthday.


The Mountain Goats Find New Sonic Inspiration on 'Getting Into Knives'

John Darnielle explores new sounds on his 19th studio album as the Mountain Goats—and creates his best record in years with Getting Into Knives.


The 100 Best Albums of the 2000s: 60-41

PopMatters' coverage of the 2000s' best recordings continues with selections spanning Swedish progressive metal to minimalist electrosoul.


Is Carl Neville's 'Eminent Domain' Worth the Effort?

In Carl Neville's latest novel, Eminent Domain, he creates complexities and then shatters them into tiny narrative bits arrayed along a non-linear timeline.


Horrors in the Closet: Horrifying Heteronormative Scapegoating

The artificial connection between homosexuality and communism created the popular myth of evil and undetectable gay subversives living inside 1950s American society. Film both reflected and refracted the homophobia.


Johnny Nash Refused to Remember His Place

Johnny Nash, part rock era crooner, part Motown, and part reggae, was too polite for the more militant wing of the Civil Rights movement, but he also suffered at the hands of a racist music industry that wouldn't market him as a Black heartthrob. Through it all he was himself, as he continuously refused to "remember his place".


John Hollenbeck Completes a Trilogy with 'Songs You Like a Lot'

The third (and final?) collaboration between a brilliant jazz composer/arranger, the Frankfurt Radio Big Band, vocalists Kate McGarry and Theo Bleckman, and the post-1950 American pop song. So great that it shivers with joy.


The Return of the Rentals After Six Years Away

The Rentals release a space-themed album, Q36, with one absolute gem of a song.


Matthew Murphy's Post-Wombats Project Sounds a Lot Like the Wombats (And It's a Good Thing)

While UK anxiety-pop auteurs the Wombats are currently hibernating, frontman Matthew "Murph" Murphy goes it alone with a new band, a mess of deprecating new earworms, and revived energy.


The 100 Best Albums of the 2000s: 80-61

In this next segment of PopMatters' look back on the music of the 2000s, we examine works by British electronic pioneers, Americana legends, and Armenian metal provocateurs.


In the Tempest's Eye: An Interview with Surfer Blood

Surfer Blood's 2010 debut put them on the map, but their critical sizzle soon faded. After a 2017 comeback of sorts, the group's new record finds them expanding their sonic by revisiting their hometown with a surprising degree of reverence.


Artemis Is the Latest Jazz Supergroup

A Blue Note supergroup happens to be made up of women, exclusively. Artemis is an inconsistent outing, but it dazzles just often enough.


Horrors in the Closet: A Closet Full of Monsters

A closet full of monsters is a scary place where "straight people" can safely negotiate and articulate their fascination and/or dread of "difference" in sexuality.


'Wildflowers & All the Rest' Is Tom Petty's Masterpiece

Wildflowers is a masterpiece because Tom Petty was a good enough songwriter by that point to communicate exactly what was on his mind in the most devastating way possible.

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.