Take Cover

Take Cover

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by Queensrÿche
     
 
Now here's a weird one: Queensrÿche's covers album. Given their long run, and the rock & roll tradition the band's members have come from and indulged in as individual listeners, it shouldn't perhaps be a surprise that they'd be interested in everything from Pink Floyd to Crosby, Stills, Nash & Young, Queen,

Overview

Now here's a weird one: Queensrÿche's covers album. Given their long run, and the rock & roll tradition the band's members have come from and indulged in as individual listeners, it shouldn't perhaps be a surprise that they'd be interested in everything from Pink Floyd to Crosby, Stills, Nash & Young, Queen, Black Sabbath, Gamble & Huff, the Police, U2, and Peter Gabriel (oh yeah, and the score of Jesus Christ Superstar). Appalled or intrigued yet? Both? Yeah. For fans of this mighty, conceptual prog metal unit, there is nothing to fear. The renaissance that Queensrÿche underwent when founding guitarist Chris DeGarmo left the band has been nothing short of astonishing. From Tribe to Operation: Mindcrime II to this, the results have been for the most part tremendously satisfying. The live records, which are really live, attest to that. While the opening version of Pink Floyd's "Welcome to the Machine" draws very natural comparisons to the paranoia and fear on the Mindcrime series, it does not prepare listeners for the reinvention of the Tim Rice-Andrew Lloyd Webber penned "Heaven on Their Minds," from J.C. Superstar, sung from the point of view of Judas Iscariot. Queensrÿche turn this baby into a first-rate metal tune, using its melody but changing its dynamic range and creating a tension that is both heavy and almost unbearably emotional at the same time (and vocalist Geoff Tate should be considered for the role when another touring production of the hard rock musical is assembled: he sings his ass off). The same goes for the C,S,N&Y covers "Almost Cut My Hair" and Stills' "For What It's Worth," as done by his preceding band with Young, the Buffalo Springfield. These are paranoid, overtly political songs, as were their originals, and the edge of paranoia coming from the twin guitars of Michael Wilton and Mike Stone push the former from being simply a rocker into an overdriven, riff-propelled jam. The latter doesn't work quite as well, but it's pleasant enough, even though the new twists on the melody sound forced. "For the Love of Money" transforms itself quite naturally from a funky, in the pocket groover to a tough metal tune. Ed Bass is having a ball with that riff, which is the root of the whole tune. There's no stretch involved with the Q-rÿche playing Queen's "Innuendo," or Black Sabbath's "Neon Nights"; these guys grew up with these tunes and have probably envisioned themselves recording them forever. These are solid, killer moments in the middle of the disc. While "Synchronicity II" rocks harder than the Police could have ever dreamed, Peter Gabriel's "Red Rain" feels strained because Tate is using inflections in his vocal that are not natural. That said, the bass in this tune is monstrously great. The set ends with U2's "Bullet the Blue Sky," done live. Over ten minutes long with plenty of feedback and bass throb, it's the best thing here. Not because it's a U2 cut, but because of what Queensrÿche do with it. They shift the rhythms, melody, and dramatic parts all around, turning it into a song in their own image. U2 should never play it again because this one is the jam. The guitar and bass lock in this thing is amazing. Nine winners, one loser, and one so-so track make this a covers record that has plenty of fire, plenty of innovation progressive moments, and some genuine inspiration. All of this said, now it's time for Queensrÿche to get back in the studio proper and write some new material and do a proper album of their own.

Product Details

Release Date:
11/13/2007
Label:
Rhino
UPC:
0081227995997
catalogNumber:
334780

Tracks

Album Credits

Performance Credits

Queensrÿche   Primary Artist
Michael Wilton   Guitar
Kelly Gray   Guitar
Leopoldo Larsen   Keyboards

Technical Credits

Andrew Lloyd Webber   Composer
Peter Gabriel   Composer
Freddie Mercury   Composer
Steve Stills   Composer
Sting   Composer
Roger Waters   Composer
Brian May   Composer
Roger Taylor   Composer
Edge   Composer
Bono   Composer
Geezer Butler   Composer
Adam Clayton   Composer
David Crosby   Composer
John Deacon   Composer
Ronnie James Dio   Composer
Kenny Gamble   Composer
Leon Huff   Composer
Tony Iommi   Composer
Anthony Jackson   Composer
Carlo Marrale   Composer
Larry Mullen   Composer
Timothy Rice   Composer
Geoff Tate   Author
Michael Wilton   Producer,Author
Bill Ward   Composer
Kelly Gray   Engineer
Kenny Nemes   Executive Producer
Mike Stone   Producer,Author
Jason Slater   Producer,Engineer
Michael "Mick" Wilson   Producer
Scott D. Rock   Author
Kevin Scurlock   Web Design
Susan Tate   Management
Cheope   Composer
Nadia Kaboul   Management
Leopoldo Larsen   Orchestration

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Take Cover 1 out of 5 based on 0 ratings. 1 reviews.
Anonymous More than 1 year ago