If British rockers Savages tried to pass as contemporaries of Bauhaus and Siouxsie & The Banshees, no one would have doubted them: They too have bat-cave sonics, an eccentric but hard-pummeling rhythm section, a monomaniacally warbling vocalist and a feral texturalist of a guitarist.
David Bowie called R&B and soul "the bedrock of all popular music," and he returned to their incarnations again and again, from his second single, a 1965 cover of Bobby "Blue" Bland's No. 1 R&B hit "I Pity the Fool" to the Kendrick Lamar records he listened to while recording 'Blackstar' half a century later.
How an "absolutely sincere" easy-listening LP recorded amid Laurel Canyon's early-'70s hippie bliss remains one of the biggest-charting (and universally beloved) albums of all time, more than 40 years later.
For most rock bands, the covers album is an exercise in nostalgia or a contract-filling measure while a drained songwriting well refills. But for Hoboken, N.J., indie institution Yo La Tengo, it's a way to document a major part of its work: the artistic lineage that it has built for itself through decades of crate-digging.