Nena
Cover Me

A double album featuring 31 (thirty-one) total songs: an indigestible and hypertrophic behemoth? According to the cold numbers, it might seem so, but appearances can be deceiving, especially when the appearance is as exquisite and delightful as Nena's. In that case, the deception turns out to be even more sweet and pleasant. Nena, the fresh and carefree female face of Neue Deutsche Welle: Nina was the beast, she the beauty, who burst onto the scene with that little 80's pop gem "99 Luftballons" and continued her pop star career on her home turf, presenting this 2007 massive batch of covers: lack of original ideas? Perhaps, but it's worth remembering that interpreting others' material is certainly not to be condemned. On the contrary, many great voices like Mina, Dusty Springfield, Joan Baez for almost her entire career made their fortune as interpreters, and then Nena can afford it: she has passion, talent, and personality to spare, a warm and rounded voice that can soothe and scratch with equal effectiveness, comparable in tone and approach to Sheryl Crow. Nena makes you see these songs from a different, personal angle; she doesn't just execute a scholarly rendition and, despite possessing a certain stylistic cohesion within the limits of such a vast work, "Cover Me" showcases a fantastic musical eclecticism second only to Kirsty MacColl in the realm of female pop.

In the first album, the German one, NDW is certainly present, as one might expect, but there is much more. The iconic "Eiszeit" by Ideal, balancing between punk and post-punk with its splendid riff and a sumptuous pulsing bass, and the seminal and acid electro-wave precursor of D.A.F.'s EBM, captured in a beautifully sinister "Der Sheriff", immediately grab your attention, without neglecting the incisive robotic mantra of "Wir Bauen Eine Neue Stadt" by Palais Schaumburg. The only original track on "Cover Me", "Mach Die Augen Auf", a captivating mid-tempo heavily infused with electronics, of great impact and refinement, sets the stage with the right energy, leading to emblematic milestones such as an epic interpretation of "Helden"—"Heroes," to be clear—or "Ein Lied" by Rammstein, where the rarefied and subdued atmospheres of the original become more scenic, more majestic thanks to an imposing orchestral arrangement, and Nena brings out the most hypnotic and enchanting side of her voice in a truly magnificent performance. "Cover Me," however, is not just electronic pop/rock in various forms; there is also room for an intense and heartfelt classic rock ballad like "Mein Weg Ist Men Weg" by singer-songwriter Klaus Hoffmann, the more relaxed and pop-infused "Fur Dich Tu Ich Fast Alles" by Ulla Meinecke, and the evocative "Ich Werde Dich Lieben", where Nena chases the myth of Marlene Dietrich in all her elegance and femininity; just close your eyes to imagine the singer, splendid and sophisticated, performing on the stage of a glamorous venue in evening dress and silk gloves, a magnificent instant classic. There is, finally, an abundance of proposals from local artists who emerged between the '90s and 2000s, sometimes even of hip-hop extraction, such as the gritty "Remmidemmi" by the techno/rap band Deichkind and a beautiful and elegant reggae ballad, "Astronaut" by Mellow Mark, or the delightful and slightly coquettish electro-pop with retro shades of "Schoen Von Hinten" by Stereo Total, closing in grand style with the jazz-electronic contaminations and vaguely exotic and fascinating atmospheres of a refined "Das Jahr 2000", originally interpreted by singer and actress Hildegard Knef. Unfortunately, there are a few somewhat forgettable and not especially expansive moments, and after all, 17 songs are truly many, but the happy moments are far more abundant, making the first part of "Cover Me" a precious treasure trove and a truly enjoyable listen even in its entirety; personally, I would have expected to find at least one piece by Falco, but it's just as well.

As for CD2, the "international" one, one thing immediately catches your attention at the first listen: remember "She's Like A Rainbow" by The Rolling Stones, from the album "The Satanic Majesties," etc., etc.? That attempt, let's say it, decidedly clumsy, to fuse a romantic minuet with blues-rock, with Mick Jagger's voice literally clashing with the music offered? Well, forget it, because sung by Nena in this leaner and more energetic version, the rainbow is completely transfigured, from a faded reflection it becomes a vivid explosion of colors; a breathtaking interpretation, bursting with enthusiasm and zest for life, which also infects the fresh and pop-punkish "Friday I'm In Love" and the masterful glam-rock rendition of "Big Yellow Taxi", finally a worthy and original reinterpretation for the great Joni Mitchell after years of faded and sugary copies. Also from the Stones' repertoire, the captivating "The Last Time" opens the proceedings, embellished with a touch of electronic make-up, followed by the energetic elegance of the bittersweet Dylanian evergreen "It's All Over Now Baby Blue", while "Blowin' In The Wind" is made almost unrecognizable, reimagined in a rarefied and disillusioned style, bordering on trip-hop. Then, there's plenty of glam rock and high-level electronics: the makeover of "Starman", which perfectly unites these two styles, seriously rocks with immense class, "Children Of The Revolution" by T.Rex holds onto all its powerful anthemic charge, and two songs like "Slipping Away" by Moby and "Sexy Boy" by Air can only enormously benefit from Nena's vocal contribution, the former transformed into an intense and passionate dancefloor anthem, the latter retains the dreamlike and trippy atmosphere of the original but ends up noticeably reinforced and improved, less French pretension, more German grit and power, a great mix. Overall, the album unleashes a really remarkable charge of energy and vitality, this until the closing triptych starting with "After The Gold Rush" by Neil Young, continuing with "Us And Them" by Pink Floyd, and concluding with the restless "Darkness" by Peter Gabriel, adding depth and introspection to the work; personally, I greatly prefer the more lively Nena, but in terms of quality these last three performances also deserve open applause; the only blemish might be the rather forgettable and somewhat tedious "Fade Into You" by Mazzy Star, but even here Nena manages to improve on the original with her velvety voice, contributing, alongside an enveloping and atmospheric electronic arrangement and elegant guitar phrasing, to create the elegant and reflective atmosphere typical of Sheryl Crow's "The Globe Sessions."

This ambitious double album by Nena, meticulously crafted in every detail, where Rammstein goes hand in hand with Marlene Dietrich, Bob Dylan with Moby, and T.Rex with Joni Mitchell, is certainly strong>a cover album I've ever come across, the strengths and good things are so many that they make any occasional flaws practically irrelevant. The German singer shows the charisma of a true diva without any reverential fear, heart, intelligence, and truly extraordinary eclecticism, besides a great voice, versatile and always effective; at times she even outdoes the original performers, dramatically so in the case of "She's Like A Rainbow." So if the alternative, the so-called new that advances in the female realm would be the indigestible, pretentious, and air-filled broths of Adele and Florence + The Machine, then long live Nena and her covers!