culture
Music
Very attentive
A bunch of this, Poliker, Galron and lots of others: the cover versions are taking over - is it good or bad?
The intense dripping of covers has already become a flood: festive projects, invested gestures, and more from everything around - all go back.
Like many other things, this too is probably related to Corona.
Nadav Menuhin reviews some of them: from the successful ones (Poliker, Belzitzman and Efrat) to the disappointing ones (renewal of Ehud Banai and the refugees
Tags
Yehuda Poliker
Nurit Galron
Bad proves
Ehud Banai and the refugees
Maya Belzitzman
Matan Efrat
Walla!
culture
Thursday, 04 March 2021, 09:14 Updated: 09:25
Share on Facebook
Share on WhatsApp
Share on general
Share on general
Share on Twitter
Share on Email
0 comments
comfort.
Yehuda Poliker (Photo: Gabriel in Herlia)
One old song by Matti Caspi recently pecked at the back of his head.
"All the songs of today are written many years ago. What we thought, just got to think of others. Do not be so naive and think that there are exceptions - how many songs can be invented at all?", Caspi wrote and also composed in 1978 - more From 40 years.
Since then, of course, many new songs have been invented, but ironically these lines are more relevant than ever in 1957, in light of the current onslaught of cover versions hitting everywhere. Wherever you look, they are there.
In the year 2006 we mentioned an intense trickle of cover versions, and now Clearly it has become a flood: a host of festive projects, invested gestures, and more tuffins from everything next door - all go back.
Here is a partial list: "In My Voice" - a mini-album by Nurit Galron with five covers;
"Out of context" - indie artists renew songs by Yankele Rotblit;
Yehuda Poliker drips new versions of songs he wrote for others, the last of which - a beautiful innovation to "The Light at the Edge" composed by Arik Einstein;
The "So.Now" project, which recreates entire albums, and two of them have already been released - Bad proves together with the veterans of Israeli rock returns to Ehud Banai and the refugees, and the tireless duo Maya Belzitzman and Matan Efrat (third album from the beginning of the Corona, Chai Nefshi) recruits "A Man Within Himself" by Shalom Hanoch (another album, a tribute to Sharon Lifshitz's "Cinema", is heating up and is also expected to be released very soon);
And of course the three-part "Order of the Hour," and the weekly covers of the "That's It" bunch.
Alongside these, there are remix albums, and of course independent covers that roam the field, not as part of one project or another.
A handsome crop by all accounts.
More on Walla!
Hi Yudko, Happy Birthday: 70 years of Poliker, 7 memorable songs
To the full article
Without a doubt - this is a phenomenon.
The question is not necessarily whether it is good or bad, since there are completely unnecessary versions among the innovations and there are also pulsating ones.
The interesting question is why, or rather - why now.
It can be estimated that the answer, apparently, is related to the same destructive virus that has changed our lives from end to end in the last year.
Part of the matter is almost technical: naturally, in the absence of culture, performances and audiences it has become particularly difficult to survive from a work and promote it.
Without the present (or future), stopping the flow of activity allowed artists to pause for a moment and look back at the past, when the time for the new songs would come at more regular times.
You can hear this slowdown well in Nurit Galron's short mini-album, which renews songs by Amir Benyon, Danny Sanderson, Eviatar Banai, Berry Sakharof and Matti Caspi, who could supposedly have come out at any other time.
Still, there is interest here: Of the songs Galron has chosen, "Standing at the Gate" and "When God Said for the First Time" (and to a lesser extent "The Unknown") are fast-paced songs centered on excessive chaos: a verbal and musical attack in the midst of a messy world.
The wonderful Galron, who in another moment marks 70, slowed their pace, emphasizing syllables - and making them even more dramatic, for example when she shouts "come" or describes a "conspiracy for pain."
Is there a clearer response to the current situation?
More on Walla!
Between Hanan Ben Ari and Noa Kirl, Israeli musicians have rediscovered their role this year
To the full article
Another explanation for the wave of versions can be more emotional: in times of insecurity - social, economic, security - it is probably convenient for the world of culture to take comfort in the bosom of beloved and familiar things, which we know by heart.
We saw it last year on TV, with the return of old brands like "This Is It", "Who Wants to Be a Millionaire", "We Won't Stop Singing", "Comedy Store", etc.
It is no different in music, which can also have added value: in such confusing times, a return to formative moments in local music makes it possible to deduce from them new meanings, relevant to our day.
The two albums released so far as part of "Then. Now" belong to this box.
The first tribute released is dedicated to one of the greatest albums ever released in Israel - "Ehud Banai and the Refugees".
This is an album that is as relevant today as it was 30 years ago, and songs like "The Golden Calf", "City of Refuge", "Black Work" and "Your Time Has Passed" are full of charges that fit 2021 - and there seems to be no need to elaborate on that again.
More on Walla!
Eden Hasson tried.
Tuna and judging also tried.
At the end Ricky Gal comes and shells
To the full article
Bad proves a scary line-up that includes names like Eran Tzur, Efrat Ben Tzur, Korin Elal, Berry Sakharof, Kfir Ben Lish and Assaf Amdursky, some of whom broke out at the same time as Banai and some shortly after, and redesigned the album with a completely different sound: alienated, and quite distant From the explosiveness of the source.
Thus these songs become broken, lose their liveliness, and the rage in them freezes - an interesting experience, but the end result is rather weak and not overwhelming, neither in the arrangements nor in the vocal performance (the "closing stage" closing by Elal will be favorably noted).
Here one can hang some of the problem in the size of the expectation in view of the monumentality of the original (which, incidentally, has been a full month in the past) and in the relevant collection, which one can expect from at least a perfect project.
In contrast, the second album in the series dedicated to "A Man Within Himself" is a surprising gem that deserves attention.
Belzitzman and Efrat, some of the musicians who are busy in Israel during the routine days, are experienced in innovations, and you can find these in almost every album they are associated with as composers.
Their experience is reflected in this beautiful project, which hosts several heroes of Israeli indie like Noam Rotem, Tamar Eisenman, Luna Abu Nassar and Yonatan Blumenfeld.
More on Walla!
The collection of innovations "Order of the Hour" was born out of contemporary distress, but some of his songs will stay with us forever
To the full article
It is usually customary to return to Shalom Hanoch's 'White Wedding', but Belzitzman-Efrat's choice of "A Man Within Himself" is fascinating in the days of Corona: the tumultuous depiction of a living, passionate, character-filled city sounds like a fantasy or science fiction.
It all stretches from the experience of wandering in a "foreign city" to the isolation anthem he did not know existed - "a man within himself lives."
The rich arrangements of strings and the chorus that accompanies some of the songs, add more and more layers of color, and suddenly Tel Aviv is revived.
But apparently the comforting cover of the period belongs to Yehuda Poliker, with the moving version of "The Light at the Edge", one of the great songs in the late chapter of Arik Einstein's career, and one of the few that can compete even with his great classics of yesteryear.
Now, the man who played the guitar solo in the original version has returned to the anthem of collecting the fragments from Rabin's assassination, in a more intimate version.
It's basically a touching duet: Tom Meyer Armoni and Poliker cut each other quietly in a chorus, in what sounds at the same time like an echo from the past and the future.
And it's wonderful, just in case you need to remember that there is a light that will never go out.
More on Walla!
When even Shlomo Artzi and Shalom Hanoch are desperate for the situation, it is not clear what will save us
To the full article
Share on Facebook
Share on WhatsApp
Share on general
Share on general
Share on Twitter
Share on Email
0 comments
