Coverage

by

Mandy Moore

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I have to admit that when I first heard that Mandy was releasing an album of covers and covers only, I wasn't looking forward to it. As an eighteen-year-old girl, I wasn't too excited about the music of the 60s, 70s and 80s ... but Mandy brings forth a well-done renewal of each of the songs.

"Coverage" is one of those lazy Saturday morning CDs to sit back and relax to. Or even to dance to. While Mandy's voice on this record is nothing exceptional, the total ambience of the record is well worth the investment. She takes a step back from the conventional "unconventional" type of pop music and a step toward a newfound maturity with "Coverage". The music is so much more than just her voice and the beat; there exists a flute, a sax, some exotic instruments that bring back the hippie/indie flavor of the mid-20th century.

Traditional pop music, "Coverage" is not. But an easy listen and soundtrack to a sunny day it is. It possesses a refreshing and sparkling quality that may even bring the sun TO your day.

It was not uncommon in the sixties for artists to put out an album consisting entirely of covers of other people's music. In fact it was quite common that most albums would contain several "cover" songs that were already hits. Even the Beatles covered the Miracles, Carl Perkins, girl-group The Marvelettes and Chuck Berry among others.

Former teen queen, now rising actress Mandy Moore has gone retro in more ways than one. First by including only covers, then by restricting herself to songs of the late 60's thru early 80's, and finally even the graphics (including that large Columbia logo like a stamp on the front cover) hearken back to that "cover-age" from whence her album gets its name.

The song choices are excellent. From the familiar Carole King ("I Feel The Earth Move"), Cat Stevens ("Moonshadow"), and Joni Mitchell ("Help Me") to the hidden Elton John gem "Mona Lisa & Mad Hatter" to the obscure (to most Americans) tracks by the Waterboys ("Whole of the Moon"), XTC ("Sense Working Overtime"), and Joan Armatrading ("Drop The Pilot"). Excellent and brave choices!

My regret, however, is that the arrangements do not match the bravery of the repetoire. They are largely copies of the original material, rather than fresh reinterpreations. I'd love to have heard "Whole of the Moon" reinvented as a tender ballad. Or "Moonshadow" with only string accompaniment.

Anything other than karaoke versions. Although it must be said, these are first-rate karaoke versions.

If Mandy Moore wants to be the Eva Cassidy for a new generation, she still has a ways to go. I hope she makes it.