Acoustic cover of “Tomorrow Never Knows,” from Bruce Springsteen’s Working On A Dream album (2009).
** EDITOR’S NOTE: **
Tonight, I’m happy to add another cover song from Federico. This time around, he’s picked a beautiful little gem from Bruce Springsteen’s latest album. “Tomorrow Never Knows” may conjure memories of the classic Beatles tune of the same name, but it’s an entirely different track, believe me. If you’ve heard the original, then you know that this is an excellent choice for an acoustic cover song.
We hope you enjoy Federico’s Guest Session — leave comments, submit a session of your own (click on “The Guest Sessions in the weekly calendar above), or simply kick back and listen!
Sounding like the best parts of Jack Johnson and Gavin DeGraw rolled into one – with a Dylan-esque vocal flair here and there – Brett Dennen’s Hope for the Hopeless is the great album of 2008 that I missed; I love Johnson and Jakob Dylan, but this acoustic rock album blows Sleep Through the Static and Seeing Things away! (…a conclusion supported by the fact that the always frustrating Rolling Stone reviewers barely acknowledged this great release with three stars and a lukewarm paragraph of backhanded compliments.)
For Tom Petty & the Heartbreakers chords & lyrics, CLICK HERE!
By Chris Moore:
Wow! I can’t remember the last time I posted a Laptop Session video on a day other than Monday! Why, you ask? Well, if you’ve come to the blog over the past year or so, you may have noticed the weekly schedule posted above. It’s pretty clear that Mondays are my day…
Unfortunately, I won’t have Internet service at home until Tuesday evening, and I just don’t have the energy on a Sunday night to type a 750 – 1000 word review on my iPhone, even if it IS based on one of my favorite albums of all time.
So instead of posting the Weekend Review as per usual tonight, I’m flip-flopping the schedule. Tonight, I present to you for your consideration my acoustic rock cover song performance of a track from the upcoming 2010 Tom Petty and the Heartbreakers album “Mojo.” This is a big deal, as far as I’m concerned, since this will be their first studio album in eight years. That’s a long wait! Mudcrutch was good and I do love Petty’s solo work, but there’s just no substitute for a bona fide Heartbreakers record. It’s been a little over a year since I finally picked up a used copy of “Long After Dark” and thus completed my TPATH (as the band is referred to on their official website’s message board) collection. Just a month ago, I was thinking about how much I’d like to hear a new Tom Petty and the Heartbreakers album…
For a few days now, they’ve been streaming “Good Enough” on their website, and although it is heavily electric — bordering on jam band-esque in fact — I thought I might try my hand at translating it to acoustic guitar. While I had more fun playing it on my Washburn electric, I did eventually record it on acoustic guitar for tonight’s session. As you’ll hear, the song is pretty straightforward. Now, you might be thinking: well, so is every other Tom Petty song. The only difference is that this one sounds a bit different than what you’d expect from the band. In fact, it’s caused some disagreements between fans as to whether it is promising or foreboding for the new release. As for me, I think it’s great — fun, loud, and highlighted by a real killer lead guitar by Campbell. That being said, I certainly hope the whole album isn’t variations on this bluesy style.
I’ll just have to wait for “Mojo” to arrive…
That being said, I hope you enjoy my cover of this brand-new, yet to be released song, and that, if you do, you’ll take the time to listen to the real thing.
Johnny Cash’s American VI: Ain’t No Grave (2010) – MAYBE SO
Johnny Cash's "American VI: Ain't No Grave" (2010)
(February 23, 2010)
Review:
This may be the final posthumous Johnny Cash release and its tracks may be refugees from American V, but this is perhaps his tightest, most thematically cohesive album — these are admittedly not the most impressive songs he has chosen to interpret, and yet Rick Rubin’s arrangement adds substance to these performances, which are among Cash’s finest.
