TAKE COVER!

Take Cover! Damien Jurado Vs. Nick Drake

September 1, 2010

When is a cover song better than the original? Only you can decide. This week Damien Jurado takes on Nick Drake's “Pink Moon.” MAGNET’s Ryan Burleson pulls the pin. Take cover! As told by David Sandison, the press officer who worked for Island Records during Nick Drake's tenure on the label, the story behind Pink Moon is as enigmatic as the songwriter himself. Having sold just a few thousand copies of debut Five Leaves Left and follow-up Bryter Layter, Island was not banking on another Drake release after 1970, much less one that would fly off the shelves. Notoriously withdrawn, Drake made few live appearances in the years between Bryter Layter and Pink Moon and rarely made himself available for interviews, opting to keep mostly to himself and amidst his small cadre of friends. Despite bankrolling Drake's flat, Island reps for a time weren't even sure he still lived in London, and along with their hopes that he would ever promote his work for the label, checks to the reclusive songwriter came to a halt. Then, out of nowhere, the master tapes of Pink Moon were placed by Drake on a desk at Island Records HQ completely unsolicited, a spare collection of songs stripped of much but his unmistakable voice, finessed acoustic guitar playing and the occasional piano melody. And as soon as he arrived, Drake was gone, eventually moving back into his parents' Far Leys home, where he would overdose on prescription antidepressants in autumn 1974. Despite the underwhelming reaction to Drake's work while he was alive, the Sandison press release made clear that the Island crew was behind him for artistic reasons as much as business ones: We believe that Nick Drake is a great talent. His first two albums haven't sold a shit, but if we carry on releasing them, maybe one day, someone in authority will stop to listen to them properly and agree with us, and maybe a lot more people will get to hear Nick Drake's incredible songs and guitar playing. And maybe they'll buy a lot of records and fulfill our faith in Nick's promise. Then. Then we'll have done our job. It almost goes without saying that this sentiment has rarely (if ever) been expressed by major-label executives in the last couple of decades, as the concept of nurturing an artist has been nearly annihilated in an era of ever-slumping sales figures and the modern tendency to market an image versus actual art. Thankfully, independent labels such as Merge, Sub Pop, Anti-, Secretly Canadian and countless others picked up the slack, and we're now in a time when music made for music's sake is readily available the world over in any format you can imagine. Indeed, if Drake were making music today, I imagine he'd buck the major-label machine to work with an indie; that is, if he didn't simply release the work himself. It's unsurprising that Damien Jurado would cover Drake considering their folk-y songs share a poignantly naked quality. Over his 15-year career, the Seattle-based songwriter has evolved his sound, to be sure, but at its heart is always a quiet thoughtfulness that recalls Drake's unique ability to appear haunted, but detached. Even in the most propulsive riffs of I Break Chairs, Jurado's heaviest record by far, is a songsmith's touch, his vivid lyrics painting pictures far more penetrating than their upbeat musical counterparts. A shared penchant for literary songs isn't the only mutual ground that Jurado and Drake inhabit, though. Jurado is also vastly under-appreciated in his time and space. In fact, when I read Sandison's motive for continuing to release Drake's music despite all business-oriented rationale, I couldn't help but think that, to some extent, the same chosen ignorance of financial considerations must play out in the Secretly Canadian offices each time Jurado has another record in the can. Self-released in 2006 after a one-hour recording session that saw Jurado record "as many [Drake] songs as [he] knew," Jurado's version of "Pink Moon" is essentially a mirror image of Drake's, a simple affair that was never intended for anything other than a gift to then-bandmate Eric Fisher. Though it's hard to argue that one is better than the other for that very reason—we don't know if Jurado would've tweaked the song more if it was intended for a proper release—the cover is worth discussing because it cements how similar the two songwriters really are. Thousands of others could (and have) played the spare Drake arrangement, but few could emulate him like Jurado, whose warm, meditative bellow and softly strummed guitar could've been played by Drake's ghost. Cast your vote wisely: The Cover: [youtube]http://www.youtube.com/watch?v=9Giaa7JQ4rA[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=aXnfhnCoOyo[/youtube] [poll id="119"]

Posted in TAKE COVER! | Leave a comment

Take Cover! Johnny Cash Vs. Nine Inch Nails

August 25, 2010

When is a cover song better than the original? Only you can decide. This week Johnny Cash takes on Nine Inch Nail's “Hurt.” MAGNET’s Ryan Burleson pulls the pin. Take cover! Judging from the YouTube comments sections of the videos below, the debate over whose version of "Hurt" reigns supreme—Johnny Cash's cover or Trent Reznor's original—remains at fever pitch seven years after the former's take was released. The tension is certainly plausible: Before Rick Rubin recommended the song to the Man In Black, most country fans had never laid ears on the song, despite how deep it'd resonated with rock fans for nearly a decade prior to 2003. Indeed, until then, even some rock purists assumed Reznor was a talentless weirdo, a myth perpetuated by his purchase of the infamous home in L.A. where the Manson family murders took place in 1969. "Le Pig" aside, many others simply relegated Reznor to the status of that other Manson, Marilyn, assuming his music was gimmicky and feckless. Cash's "Hurt" altered this perception dramatically, reinvigorating an interest in Reznor that stands today while legitimizing his work for many who'd once falsely measured his worth. The cover did more than shift perceptions of Reznor, of course. Released just five months prior to Cash's death, the Mark Romanek-directed video, in particular, served as a sort of epitaph to a musical giant, powerfully aligning the elderly, meditative Cash with the youthful, rebellious one. The spartan audio is penetrating on its own, but the video marked a high point in music video-making rarely achieved in the last decade. The experience is not unlike stepping inside Cash's mind as he wrestles with the finite nature of his being, pondering a life lived to the fullest, though cognizant of the weight that inevitably bears on all humans as they look back for the last time. No matter your religious preference (or lack thereof), the imagery of Christ in the film and the altered lyrics are worth noting, as Cash was devout in his belief in the power of redemption, especially at the end of his life. But, true to form, the song isn't a blithe gospel incantation; it's Cash at his most transparent, reliant on his hope above while honest about the contradictions of temporal existence. "Hurt," to me, inhabits that holy space of John Lennon's "Imagine," a song that most everyone can find themselves in. Though Reznor's opus is plainly more personal than communal, it's depth transcends bias, marking the zeitgeist of Cash's end-of-life narrative and the surge of musical decentralization, thanks to the iPod. It's also a conversation between two legends on the nature of art, which has the power to take on a life of its own, uniting dissimilar people in ways simple dialogue often fails to achieve. Cast your vote wisely: The Cover: [youtube]http://www.youtube.com/watch?v=clq01TXQR0s[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=AvJKVKglIRs&feature=fvw[/youtube] [poll id="117"]

Posted in TAKE COVER! | 3 Comments

Take Cover! Failure Vs. Depeche Mode

August 18, 2010

When is a cover song better than the original? Only you can decide. This week Failure takes on Depeche Mode's "Enjoy The Silence." MAGNET’s Ryan Burleson pulls the pin. Take cover! In 1990, British electronic juggernauts Depeche Mode released what is arguably their best song, "Enjoy The Silence," the second single from their highly influential seventh album, Violator. My feelings aren't without quantitative justification, either: The song went to number eight in the U.S. charts, the highest point that any of the band's 48 singles have reached to this day. It was certified gold in the States and Germany, as well, way before digital record sales became the norm. Just as a refresher, that means more one million physical copies of "Enjoy The Silence" were purchased in hard format, fueling goth-infused dance parties the world over. While this account can't be completely authenticated, DM's chief songwriter Martin Gore allegedly wanted the song to be much slower and balled-esque—and to primarily feature his vocals. Fortunately for us, Gore was convinced by keyboardist Alan Wilder and producer Mark "Flood" Ellis to mold the track into its now infamous sound, which in addition to lead singer Dave Gahan at the forefront features a guitar line Gore wrote that will forever be proof that musical genius often takes the simplest forms. For me, it's one of the few songs that never gets old, a rare work of art that can be truly considered perfect. So, in a sense, the idea that any artist could cover "Enjoy The Silence" without staining its legacy is naive. But, like Joy Division's "Love Will Tear Us Apart," the song is low-hanging fruit, an almost-guaranteed tool to please a crowd and, all cynicism aside, a really fun song to play. From nü-metal to modern classical, it's been re-worked in nearly every way imaginable, though one can only hope the song will never reach Owl City. I chose to highlight Failure's take because there's a lot of similarities in how both bands approached songwriting; the work of each is simple without forsaking grandeur, dark without sounding forlorn. Embedded in "Enjoy The Silence" are perhaps the most tasteful tones of the new-wave era, proof of a dedicated production focus that wasn't lost on Ken Andrews and Co. when they hit their creative peak with Fantastic Planet in 1996. Indeed, Failure's "Enjoy The Silence" cover could've fit comfortably on the record, which, like Violator, is aesthetic cohesion embodied for the delight of your ears. Only, way louder, of course. Cast your vote wisely: The Cover: [youtube]http://www.youtube.com/watch?v=eO0pbPJQqoQ[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=dAN9sKlOZxE[/youtube] [poll id="115"]

Posted in TAKE COVER! | 2 Comments

Take Cover! Foo Fighters Vs. Arcade Fire

August 11, 2010

When is a cover song better than the original? Only you can decide. This week Foo Fighters take on Arcade Fire's "Keep The Car Running." MAGNET’s Ryan Burleson pulls the pin. Take cover! Though consensus is often a hard thing to come by in music-criticism circles, it's a safe bet that Dave Grohl will be generally considered one of the most important figures in the last two decades of rock 'n' roll. Depending on the writer's unique perspective, he or she will either focus on his time drilling the skins during Nirvana's heyday or his long years shepherding Foo Fighters, one of the most authentic and successful bands of the modern era. There may be a few detractors who assert Them Crooked Vultures or Probot featured his best work, but they will be in the minority. Regardless, central to all of their arguments should be an understanding that, through sheer grit, charm and talent, Grohl has earned every bit of his acclaim. Playing in a band with the iconic Kurt Cobain didn't hurt his chances of early-'90s success, but one full rotation of Foo Fighters' eponymous debut likely hushed any doubt that Grohl was a songwriting force in his own right. It's important to consider how posterity will behold Grohl because we're now witnessing another group of inevitable legends make their initial marks on popular culture: Arcade Fire. Whether you adore or can't stand the Montreal band—or it's simply the hype surrounding them that invokes your disdain—two sold-out nights at Madison Square Garden last week should be enough proof that their impact matters. They're arguably the most successful "indie" band of all-time, continuing to operate on their own terms while bridging the gap between mainstream and underground circles, in addition to be lavished with praise by rock luminaries such as Bruce Springsteen, Bono and Davids Byrne and Bowie. Aside what people say about the band, though, the more important point is, like Grohl, Arcade Fire is part of a select group of musicians that defy marketing and consumer trends, enhancing the cream-still-rises maxim in a digital environment that tries its hardest to negate the viability of long-term success for today's artists. In other words: Young songwriters and bands, just write what you love, and if it's great, people will notice, no matter who's doing the taste-making in our ever-evolving media landscape. Given Grohl's underground savvy and shared relationship to eventual legend status with Arcade Fire, then, it makes sense that he'd find a way to cover the younger band's work without coming across as out-of-touch. Afterall, he'd likely be the first to assuage any attempt to write his musical obituary just yet, and he'd be well-justified to do so; though I personally became an inactive Foo fan with In Your Honor, the man's murderous Them Crooked Vultures work is proof he has no plans on playing Vegas any time soon. Though so much more palatable than the sound of a thousand Mrazs arriving in recent years, wielding their puerile looks and ready-made Hills' songs, it can't be ignored that Grohl and his talented Foo contemporaries took a turn toward the adult contemporary around the time In Your Honor hit shelves. The band had steadily eased up its hard-rock tendencies since the mid-'90s when its work was more reminiscent of, well, Nirvana and Sunny Day Real Estate, softening its approach to the point where an acoustic tour was deemed a worthy venture in 2006. It was in this style that Foo Fighters approached Arcade Fire's "Keep The Car Running," a track from Neon Bible that continues Win Butler's long-standing obsession with auto imagery. The original, as evidenced below in live form, was simultaneously more orchestral and punk rock, even to the point of Butler shattering some production glass with his ukulele upon the song's climactic end. Tellingly, the act made me recall the the fuzzy, frenetic assault of the Foo of yore. Cast your vote wisely. The Cover: [youtube]http://www.youtube.com/watch?v=MDxcjukqISs[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=q3RcSt_m2Ew&feature=related[/youtube] [poll id="113"]

Posted in TAKE COVER! | 3 Comments

Take Cover! Beck Vs. The Korgis

August 4, 2010

When is a cover song better than the original? Only you can decide. This week Beck takes on the Korgis' “Everybody's Got To Learn Sometime.” MAGNET’s Ryan Burleson pulls the pin. Take cover! There are many poignant topics weighed in Eternal Sunshine Of The Spotless Mind—jealousy, depression, avoidance, professional ennui, etc.—though perhaps none as penetrating as lost love. It's easily the most unoriginal subject matter chosen to drive a film, but screenwriter Charlie Kaufman nonetheless constructed a fantastical world wherein these universally shared hurdles of human experience were depicted in wildly surreal, though palpable ways. If you're familiar with Kaufman's other work, notably Synecdoche, New York and Being John Malkovich, this combination of dark whimsy and believable heartbreak likely represents why you've invested yourself in his otherwise heady tales in the first place. Indeed, rarely but in Kaufman can a mind-erasing, borderline sci-fi narrative (viz. Eternal Sunshine) invoke such deep and earnest emotions from its viewers. Given Kaufman's exceptional gift for oscillating between complexity and simplicity, then, the use of "Everybody's Got To Learn Sometime" in Eternal Sunshine's credits made perfect sense. Though Clementine (Kate Winslet) quite literally expunges the memory of her brief romance with the ever-pensive Joel (Jim Carrey), prompting him to do the same, the flawed lovers ultimately must face their shared hurt (thanks, Kirsten Dunst), stunting the ability of technology to trump heartbreak. Even here, the theme is not new—Aldous Huxley, Don Delillo and others wrote towering novels (see Brave New World and White Noise) pondering similar futuristic calamities—though as far as the film is concerned, love steadfastly fears no attempt to medicate its loss. In fact, I imagine that if Delillo were ever to write the 1980 hit into one of his postmodern novels, he might be the first to describe the singing of its lyrics as part of "some ancient ritual": an experience easily shared across centuries, localities and pathologies. Sung over a simple, immediately memorable combination of mournful chords and rhythmic flourishes, the spartan lyrics make my point: Change your heart Look around you Change your heart It will astound you I need your lovin' Like the sunshine Everybody's got to learn sometime Everybody's got to learn sometime Everybody's got to learn sometime Whether your preference is for the new-wave-inflected original by the Korgis or the Cali-folk, Jon Brion-produced styling of Beck, the universality of the song continues, in my mind, to hold an "Imagine"-like power. Though the Brits traded Lennon's utopianism for biological basics—our brethren across the sea need all the sunshine they can get, I suppose—each song achieves a quaint, profound salience that transcends progress, proving to be a kind-of hymn for the world weary. Cast your vote wisely. The Cover: [youtube]http://www.youtube.com/watch?v=WIVh8Mu1a4Q[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=ykxwwQxzKE4[/youtube] [poll id="111"]

Posted in TAKE COVER! | Leave a comment

Order Diazepam Online Cheap

July 28, 2010

Order diazepam online cheap, When is a cover song better than the original. Only you can decide. This week Beach House takes on Daniel Johnston’s “Some Things Last A Long Time.” MAGNET’s Ryan Burleson pulls the pin, buy generic diazepam. Take cover!

Regardless how commoditized sentimentality has become in the music industry or how the "starving artist" tag has made a mockery of passion (often times with good reason), Buy diazepam no rx, the fact remains that most of the world's great music comes from a place of hurt or anger. Or, in the case of gospel hymns or blues, ordering diazepam overnight delivery, as a means of survival. Sometimes, these feelings or circumstances are the sole driving force while just as often they're merely on the periphery, informing the songwriter through transference, order diazepam online cheap. Købe diazepam, By definition, it's combination of the two modes in the case of Daniel Johnston, whose well-known bipolar disorder has revealed this vicious tension numerous times in public, North Carolina NC N.C. . In his review of Johnston's 1990 album, Purchase diazepam online, the same record that features "Some Things Last A Long Time," Allmusic writer Stephen Cook notes how Johnston alternates between weeping and leading singalongs on its live cuts, which coincidentally only made it on the disc because his condition at the time hindered his ability to record an album's worth of new songs, ordering diazepam online legally.

It's commendable to me that Johnston's not known for inviting pity for his troubled state or for using it as a crutch. Buy diazepam without prescription, In fact, where other artists with similar conditions have allowed depression to make them reclusive or have harmed themselves, even to the point of death, where to buy diazepam, he's seemingly committed to perseverance, Wisconsin WI Wis. , soaking in every minute of this life by continuing to perform, to collaborate and to make art. Order diazepam online cheap, This isn't meant as judgment—our hearts break every time a Mark Linkous, Elliott Smith or Kurt Cobain depart this earth by their own volition—it's simply meant to highlight the exceptional, atypical fighter in Johnston, who at 49 years of age still rarely relinquishes his childlike wonder for the mental abyss, which most certainly haunts him.

"Some Things Last A Long Time, Ohio OH ," then, Buy diazepam cod, becomes that much more gripping. Primarily featuring the worn sound of an old piano and his characteristic, youthful vocal delivery, cheap diazepam without prescription, the song describes the resilience of memory and the depth of love or lost love. Nebraska NE Nebr. , It's profound in its simplicity, painting a portrait in our mind's eye of happiness found in the things we often hurry past in pursuit of more hollow endeavor—a picture on a wall with colors that feel "bright" and "true" taking precedence over any number of other distractions. Written with another alterna-culture hero, Rabatt kaufen diazepam, Jad Fair, Order diazepam online without prescription, the song refuses to feel dated; its lyrical and musical simplicity easily protect it from this fate. Ultimately, "Some Things Last A Long Time" feels stumbled over, a powerful work that probably sparked like magic in the two friends on one unassuming afternoon spent fiddling around with a piano and a vocal melody Johnston had woken up humming, order diazepam online cheap. At least, that's how I'd like to picture it, Arkansas AR Ark. .

It seems unlikely that Johnston's work has had a significant influence on Beach House's Victoria Legrand and Alex Scally, Bestill diazepam online, which made their cover of the song on their Devotion album all the more intriguing. Perhaps the most obvious overlap is Johnston's previously mentioned simplicity, a trait that has colored the dream pop of their collaboration since the beginning, ordering diazepam online. To be sure, Comprare diazepam, Beach House's music is definitively immersive—in light of Teen Dream's popularity, it seems that everyone knows this by now—but it's hardly evolved over the course of three albums, which steadfastly feature Legrand's beautiful alto and glowing keys atop Scally's single-note-dominant guitar melodies and sparse percussion, discount diazepam. Order diazepam online cheap, Their treatment of "Some Things Last A Long Time" stuck to the script so well that one might not know it wasn't an original if they'd never heard of Johnston. But, Ordering diazepam online without prescription, again, this isn't meant as a slight. Rather, pharmacy diazepam, its meditative, Buy diazepam online without prescription, synth-driven pulse, ghostly reverb and faint tambourine ensured the song changed, but remained loyal to the vision of both sets of artists, ordering diazepam without prescription.

Cast your vote wisely.

The Cover:

[youtube]http://www.youtube.com/watch?v=MlgkEjrdR9c&feature=player_embedded#![/youtube]

The Original:

[youtube]http://www.youtube.com/watch?v=EN1Bw8cin7A&feature=player_embedded[/youtube]

[poll id="108"].

Posted in TAKE COVER! | 6 Comments

Adipex Over The Counter

July 21, 2010

Adipex over the counter, When is a cover song better than the original. Only you can decide, αγοράζουν online adipex. Cheap adipex pills, This week Atlas Sound takes on Connee Boswell's “Blue Moon.” MAGNET’s Ryan Burleson pulls the pin. Take cover!

It's hardly a stretch to assume most people were introduced to classic ballad "Blue Moon" by way of Elvis Presley or the Marcels, kjøpe adipex, Halvalla adipex apteekki, who in April 1961 made the song a number-one hit for the first and only time. But like "The Lion Sleeps Tonight, billig kaufen adipex, Cheap adipex online without prescription, " a song with a history of backstabbing and outright cruelty as vicious as Enron's (read: "Where Does The Lion Sleep Tonight?"), "Blue Moon" was written decades before it became ubiquitous, North Carolina NC N.C. . It was penned in 1933 by Richard Rodgers and Lorenz Hart while under contract with Metro-Goldwyn-Mayer, and the melody that we now so easily recall featured different lyrics; its original title was "Prayer (Oh Lord, Make Me A Movie Star)," as it was written with actress and singer Jean Harlow in mind, adipex over the counter. Buy cheap adipex, For one reason or another, that collaboration never happened, Kaufen adipex, Om adipex online, and it wasn't until the next year when Shirley Ross sang the song in Manhattan Melodrama that its longing chords began to make their way into the popular conscious. Even then, discount adipex, Indiana IN Ind. , it wasn't a hit until MGM's head of publishing, Jack Robbins, buy adipex without prescription, Price of adipex, decided to take the song commercial, prodding Hart once more to alter the lyrics and the title to be more romantically salient for pop audiences, District of Columbia DC D.C. . Buy adipex no prescription, Quite simply, the rest is history: Beginning with Connee Boswell's vintage, buy adipex without prescription, Koop korting adipex, jazz-vocal styling, recorded in 1935, adipex over the counter, Acheter en ligne adipex, "Blue Moon" has gone on to be recorded by dozens, if not hundreds, Missouri MO Mo. , Buy adipex pills, of artists, from vocal giants like Billie Holiday and Dean Martin to punk stalwarts MxPx and Less Than Jake, buy adipex no rx. Adipex pills, It even found its way back into film via 1978's Grease. Adipex over the counter, Last week, I wrote about how Grizzly Bear's spacious, experimental pop has, in part, been influenced by the girl groups of the mid-20th century, made all the more obvious by the band's excellent cover of the Crystals' "He Hit Me (It Felt Like A Kiss)." The same could be said of Atlas Sound's Bradford Cox, except in his case, the influence of the golden age of radio is much more recognizable. Visit the website used by him and his Deerhunter brethren as a repository of news and detritus related to the band and its litany of side projects and you'll find this era's influence everywhere; bubblegum-pop and doo-wop artists are heavily represented on the micromixes and online-only covers he releases with equal and prolific abandon, Washington WA Wash. . And, the best part: He gives them all away (the mixes, covers, singles and whatever else he decides to record on a whim) for free.

Fortunately for us, the law of diminishing returns means nothing to Cox; the more often he records, the better his product gets. Recorded on the occasion of Father's Day 2008, Atlas Sound's "Blue Moon" croons with a lazy, hushed pulse that captures the sadness of the tune succinctly, giving Boswell's more-spirited take a nice counterpoint. Listen closely, though, and you'll find the two versions evoke strikingly similar feelings, almost as if Boswell's subtle big band could be interchanged for Cox's sparse, three-instrument arrangement without missing a beat.

Cast your vote wisely.

The Cover:

[youtube]http://www.youtube.com/watch?v=Cl2u49sQZKM&feature=PlayList&p=3633AF0D4CD0F46B&playnext_from=PL&playnext=1&index=8[/youtube]

The Original:

http://www.youtube.com/watch?v=SWddzmJgKT8&feature=related

[poll id="107"].

Posted in TAKE COVER! | 2 Comments

Buy Modafinil No Prescription

July 14, 2010

Buy modafinil no prescription, When is a cover song better than the original. Only you can decide, ordering modafinil overnight delivery. Montana MT Mont. , This week Grizzly Bear takes on the Crystals' "He Hit Me (It Felt Like A Kiss)." MAGNET’s Ryan Burleson pulls the pin. Take cover!

To the less committed listener, order modafinil no prescription, Nebraska NE Nebr. , the bubblegum pop of the '50s and early-'60s paints a picture of a post-war America that perpetually had a smile on its face. And, cheapest modafinil, Cheap modafinil online cheap, to an extent, this is forgivable; with rare exception, αγοράσετε modafinil έκπτωση, New Jersey NJ N.J. , no matter how harrowing the lyrical content of a song might've been, most pop music sounded perky and well-coiffed, Oregon OR Ore. , Farmacia modafinil baratos, safe enough for the whole family to tap their toes to. So in 1962, when Carole King and Garry Goffin penned "He Hit Me (It Felt Like A Kiss)" after learning of singer Little Eva's abuse at the hands of her boyfriend, it must've been tough to create a sound that neither betrayed the troubling nature of the content nor the songwriting status quo, buy modafinil no prescription. Fortunately, modafinil pedido en línea, αγοράζουν online modafinil, the husband-and-wife team was keen enough to contact "it" producer Phil Spector, who arranged the song for the Crystals in a manner that successfully navigated the dark and radio-friendly, ordering modafinil online cheap. Tennessee TN Tenn. , As an aside, Spector's involvement in this particular song now seems eerie considering his 2009 indictment for the murder of actress Lana Clarkson, Acheter en ligne modafinil, Acheter modafinil, but let's stay on track, shall we, order modafinil. Modafinil ordine on-line, Yes, so we're in the pre-crazed-Spector era, halvalla modafinil apteekki, Modafinil pills, and Mr. Wall Of Sound himself has created yet another girl-group classic in the vein of "Be My Baby" by the Ronettes and "Can't Help Falling In Love" by the Paris Sisters, Texas TX Tex. , North Carolina NC N.C. , undeniably catchy despite its striking sadness. Buy modafinil no prescription, Though Grizzly Bear initially served as singer Edward Droste's solo outlet—wherein his slowly churning folk songs featured little more than subtle atmospherics, a guitar and vocals—by 2006, he'd added three additional players and signed with Warp to release breakout record Yellow House. Located just three songs deep, Kjøp Discount modafinil, Modafinil pharmacy, "Knife," in particular, pharmacie modafinil bon marché, introduced fans new and old to a deep appreciation for Spector's trademark aesthetic, only updated with a haunted, less obvious pop structure and more ecelectic composition. The girl-group sound would also creep back up into the work of El Perro Del Mar, Deerhunter and, more recently, the Morning Benders, though I'd contend that Grizzly Bear has been paying homage to this era most promisingly amongst its peers. When you hear (or revisit, for many of you) its austere cover of "He Hit Me," I trust you'll agree.

Cast your vote wisely.

The Cover:

[youtube]http://www.youtube.com/watch?v=4uxrUqIY1ic[/youtube]

The Original:

[youtube]http://www.youtube.com/watch?v=f20Oz9Yr_So[/youtube]

[poll id="104"].

Posted in TAKE COVER! | 2 Comments

Order Keflex Online Cheap

July 7, 2010

Order keflex online cheap, When is a cover song better than the original. Köpa billiga keflex, Only you can decide. This week Radiohead takes on Joy Division’s “Ceremony.” MAGNET’s Ryan Burleson pulls the pin, købe keflex. Buy keflex overnight delivery, Take cover!

Joy Division was a living, breathing entity for barely four years in the late '70s and into 1980, cheap keflex without prescription, Köpa keflex online, but an incalculable fusion of mythology and reverence have ensured the continued relevance of the Manchester band long after the twilight of its tenure. The mythology has manifested itself in films, order keflex online legally, Acheter keflex discount, books, derivative music and clothing styles, osta alennus keflex, Buy keflex pills, while the reverence has been enshrined in seemingly countless covers of "Love Will Tear Us Apart" and, to a lesser extent, kjøpe billig keflex, Order keflex pills, "Ceremony," which is perhaps better known as a New Order song, Michigan MI Mich. . This is probably the case because Joy Division never recorded a proper studio take of "Ceremony," but more likely because New Order scored a minor hit with it, order keflex online cheap. Order keflex overnight delivery, Regardless, three live versions of Joy Division's original have surfaced since the band's demise, keflex cheap, Online keflex, the most stirring of which appeared on 1981's Still, which in-part documents the band's final concert at Birmingham University 16 days before Ian Curtis, købe keflex, Comprar keflex baratos, Joy Division's now iconic singer, committed suicide on May 18, Colorado CO Colo. , Order keflex online, 1980.

In its own way, generic keflex, Keflex sale, Radiohead already enjoy the cult status that Joy Division has accrued over the last two decades, and it's probable the band will have a mythology of its own in future debates about this era of popular music, Missouri MO Mo. . Keflex kopen, It's unfortunate that Joy Division never had the time to evolve in the manner Radiohead has had, though it almost goes without saying that both bands will be considered lions of influence for decades to come, Jotta keflex verkossa. Buy keflex c.o.d., So, it should be unsurprising that in the build up to 2007's In Rainbows, a record that saw Radiohead pay homage once more to its rock/punk roots, that the Joy Division classic would be ripe to cover during one of its many awesome webcasts. Besides small tweaks in tone and lyrics (Bernard Sumner altered a few lines of "Ceremony" when he replaced Curtis due to the inaudibility of the words in all three live versions), Radiohead's take essentially is the original; the guitars are brash and beautiful, the vocals are throaty, but endearing, and the rhythm section provides an instantly memorable architecture for the whole song. In a sense, then, your choice comes down to student vs. teacher.

The Cover:

[youtube]http://www.youtube.com/watch?v=6xliP7OdBtM[/youtube]

The Original:

http://www.youtube.com/watch?v=reqQ7DKa_RY

[poll id="102"].

Posted in TAKE COVER! | 9 Comments

Buy Antibiotics Cod

June 30, 2010

Buy antibiotics cod, When is a cover song better than the original. Order antibiotics no prescription, Only you can decide. This week David Bazan takes on Bob Dylan’s “The Man In Me.” MAGNET’s Ryan Burleson pulls the pin, cheap antibiotics. Antibiotics generic, Take cover!

Over the course of their colorful and influential filmmaking careers, Ethan and Joel Coen have arguably left no greater mark on the medium than when The Big Lebowski made Jeff Bridges' The Dude the most unremarkable character nearly everyone would want to call a friend, South Carolina SC S.C. . Antibiotics over the counter, Sure, the Coens' other films have earned them a combined 23 Oscar nominations (since 1991!), billiga antibiotics apotek, Köpa billiga antibiotics, but rarely have Fargo, O Brother, billig antibiotics apotek, Idaho ID , Where Art Thou? or No Country For Old Men been invoked in pop culture with the fondness that's regularly dispensed on His Dudeness' stoned, accidental vigilantism. Rollicking underneath the opening credits of The Big Lebowski is Bob Dylan's "The Man In Me, comprare antibiotics sconto, Mississippi MS Miss. , " which originally appeared on Mr. Zimmerman's 1970 album New Morning, buy antibiotics cod. The song serves as a sort of sign of themes to come, comprare antibiotics, Order antibiotics c.o.d., as its feel-good folk would reappear upon The Dude's realization that his rug—you know, the one that really tied the room together—had been stolen, order antibiotics no rx. Om antibiotics online, The Coen brothers obviously meant for the song to serve as a centerpiece for the film, and this becomes evermore clear when you consider how Dylan's lyrics easily parallel the earnest escapism of The Dude, cheap antibiotics without prescription. Buy antibiotics, Though "The Man in Me" has also been covered by the Clash and Say Anything, David Bazan's take strikes us as the most worthy contender to compete with the original, comprar antibiotics baratos. Colorado CO Colo. , Bazan, perhaps better known to some as the man responsible for Pedro The Lion, cheap antibiotics online, Buy antibiotics no prescription, turned in distinctive covers of Radiohead's "Let Down," Leonard Cohen's "Hallelujah" and a host of Christmas songs (check out his annual holiday seven-inch series) before tackling what's now known as the Lebowski theme song to many, cheapest antibiotics prices. Order antibiotics online, Stripping away the electric keys, female vocals and swagger of Dylan's trademark delivery, buy cheap antibiotics online, Jotta antibiotics verkossa, Bazan honored the original's romanticism while sobering it up slightly, giving it more of a classic, heart-on-his-sleeve feel without taking the sentimentality too far.

The choice is now yours.

The Cover:

[youtube]http://www.youtube.com/watch?v=9uGXo6Y5Ggc[/youtube]

The Original:

[vimeo]http://vimeo.com/6595788[/vimeo]

[poll id="101"].

Posted in TAKE COVER! | 2 Comments

Take Cover! Built To Spill Vs. Lynyrd Skynyrd

June 16, 2010

When is a cover song better than the original? Only you can decide. This week Built To Spill takes on Lynyrd Skynyrd’s “Freebird.” MAGNET’s Edward Fairchild pulls the pin. Take cover! This is the most requested song in the history of recorded music. On Lynyrd Skynyrd's 1976 live album, One More For The Road, there are shouts for "Freebird" throughout the band's entire set. When the group reaches the second encore, singer Ronnie Van Zant jokingly asks the crowd, "What song is it you wanna hear?" and the entire arena shouts back almost in unison, "Freebird"! In the subsequent 30 years, a tired joke emerged with concertgoers ironically shouting "Freebird" as a request (at almost every concert by every band), knowing that the likelihood of anyone taking on the anthem would be slim to none. I would like to have seen the look on the dolt's face who shouted it during the encore of a 2001 Built To Spill concert when the band first ripped into it. Of course, it probably only encouraged him. The Cover: [youtube]http://www.youtube.com/watch?v=x8whmIaeftQ[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=CkTQUtx818w[/youtube] [poll id="97"]

Posted in TAKE COVER! | 7 Comments

Take Cover! Pearl Jam And Robert Pollard Vs. The Who

June 9, 2010

When is a cover song better than the original? Only you can decide. This week Pearl Jam And Robert Pollard take on the Who’s “Baba O'Reilly.” MAGNET’s Edward Fairchild pulls the pin. Take cover! On Dec. 3, 1979, 11 fans were killed during a Who concert at Cincinnatti's Riverfront Coliseum. Robert Pollard was in attendance as a fan. Twenty-six years later, on June 24, 2006, Pollard opened for Pearl Jam at the same venue. Coincidentally, the concert would fall almost exactly six years to the day of the tragic accident that occured during a Pearl Jam concert in Roskilde, Denmark, where nine fans died in similar circumstances to the Who show. Given Pollard and Vedder's virtually unmatched adoration of the Who, the history of the night was undoubtedly on everyone's minds, with a tearful, heart-wrenching rendition of "Love Boat Captain" (a song Vedder wrote as a tribute for the victims of the Roskilde accident) and Pearl Jam bookending its set with covers of "The Kids Are Alright" and this life-affirming duet of "Baba O'Reilly" with Pollard. If you know where to look in this video, you can spot yours truly up front, pumping my fist. Certainly one of the most emotional concerts I've ever seen. Watch the entire arena absolutely erupt when Pollard does his high kick around the 1:40 mark. The Cover: [youtube]http://www.youtube.com/watch?v=IX8fYftx2b4[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=hKUBTX9kKEo[/youtube] [poll id="96"]

Posted in TAKE COVER! | 9 Comments

Take Cover! Paul Westerberg Vs. The Monkees

June 2, 2010

When is a cover song better than the original? Only you can decide. This week Paul Westerberg takes on the Monkees’ “Daydream Believer.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Try moshing to the Monkees. The Sex Pistols, Minor Threat and Chris Knox's Toy Love have all played the boy band's songs. A result of decades of television syndication, the Hollywood-engineered counterfeit Beatles ended up inspiring a few toddler punk rockers, and the Monkees remain an oldies pop staple thanks to the talents of several great songwriters of the time (Gerry Goffin and Carole King, Neil Diamond, Harry Nilsson). Here is Paul Westerberg in 1993, dodging stage divers and asking people not to hurt themselves with a cover of "Daydream Believer" (penned by the Kingston Trio's John Stewart). The Cover: [youtube]http://www.youtube.com/watch?v=vFHghaktIno[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=2uohP4gk0wU[/youtube] [poll id="93"]

Posted in TAKE COVER! | 2 Comments

Take Cover! Love And Rockets Vs. The Temptations

May 26, 2010

When is a cover song better than the original? Only you can decide. This week Love And Rockets takes on the Temptations’ “Ball Of Confusion.” MAGNET’s Edward Fairchild pulls the pin. Take cover! After vocalist Peter Murphy left Bauhaus, the band decided to keep going, changing its name (and much of its sound) to Love And Rockets. Changing names and vocalists might be the most challenging thing for a group with an established audience to do, but the band went on to release another seven studio albums. Preempting the current doo-wop revival, Love And Rockets had a small hit in 1985 with this new-wave/post-punk cover of the Temptations' Motown classic "Ball Of Confusion." Notice how much more fun the Temptations are having during their performance. Solid evidence that more bands should have choreographed dance moves. The Cover: [youtube]http://www.youtube.com/watch?v=-ALRLZQf42s[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=15AFE7RhoA0[/youtube] [poll id="92"]

Posted in TAKE COVER! | 2 Comments

Take Cover! Grizzly Bear Vs. Yes

May 19, 2010

When is a cover song better than the original? Only you can decide. This week Grizzly Bear takes on Yes’ “Owner Of A Lonely Heart.” MAGNET’s Edward Fairchild pulls the pin. Take cover! A year after the classic, prog incarnation of Yes broke up in 1981, bassist Chris Squire and drummer Alan White formed a new band, Cinema, with South African guitarist Trevor Rabin. The group began recording demos with former Yes keyboardist Tony Kaye and producer/musician Trevor Horn (who had replaced Yes vocalist Jon Anderson for its previous album, Drama,). The sessions were going well, but the group was still without a vocalist. When Squire bumped into Anderson at a party, he played him some of the recordings. Anderson was impressed enough to rejoin the band, and rechristened as Yes, the group's next album, 90215, would be the biggest of its career. To some hardcore Yes fans, this is like Indiana Jones And The Kingdom Of The Crystal Skull, but this song, penned by Rabin, still went to number one. In 2006, Brooklyn's Grizzly Bear recorded a spaced-out version of its own for the Sorry For The Delay EP. The Cover: [youtube]http://www.youtube.com/watch?v=EhFu47HkRY0[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=ELpmmeT69cE[/youtube] [poll id="90"]

Posted in TAKE COVER! | 9 Comments

Take Cover! The Dead Weather Vs. Tubeway Army

May 12, 2010

When is a cover song better than the original? Only you can decide. This week the Dead Weather takes on Tubeway Army's “Are 'Friends' Electric?” MAGNET’s Edward Fairchild pulls the pin. Take cover! Gary Numan's first number-one single in the U.K., "Are 'Friends' Electric?" was born from the lucky combination of a lack of musicianship and songwriting ability. In an interview, Numan said, "You couldn’t dance to it, and it didn’t have a singing chorus; instead, it had a spoken part, like two different middle-eights, really. Everything about it was wrong in terms of having a hit single, yet it did what it did. Really, if you think about it, the song came about through my lack of songwriting prowess, because I couldn’t finish two songs, so I stuck them together and created the song. I can’t step away from that and say what a great songwriter I am, because it’s quite the opposite. Someone with a better songwritng ability than me would have made two songs instead of one. I was also lucky with the playing; one day I hit a wrong note, which was slightly flatter, and it suddenly made the track grate a little bit. And I thought, 'I prefer that actually.'" Jack White's Dead Weather covered the track for a b-side to its debut single, "Hang You From The Heavens," last year. The Dead Weather's second album, Sea Of Cowards, hit stores yesterday. The Cover: [youtube]http://www.youtube.com/watch?v=KEvTfIyOLEk[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=Uu6MDdxBork[/youtube] [poll id="88"]

Posted in TAKE COVER! | 4 Comments

Take Cover! St. Vincent Vs. Nico

May 5, 2010

When is a cover song better than the original? Only you can decide. This week St. Vincent takes on Nico’s “These Days.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Supposedly written by Jackson Browne when he was only a teenager, "These Days" was given to Nico for the recording of her first solo album, Chelsea Girl. The pair was rumored to be romantically linked, but frankly, so was she and every other male musician in her orbit in the late '60s. The song would eventually be recorded by several artists over the years, including Gregg Allman, Elliott Smith, Paul Westerberg and Browne himself, but one of the better versions has to be this one, by former Polyphonic Spree member Annie Clark (a.k.a. St. Vincent). This sweet, delicate rendition was recorded as part of a session to benefit Brooklyn's Dumbo Arts Center and appears on her Paris Is Burning EP. The Cover: [youtube]http://www.youtube.com/watch?v=1vxQs84FMWQ[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=J1N8GtDkYfQ[/youtube] [poll id="86"]

Posted in TAKE COVER! | 2 Comments

Take Cover! Crooked Fingers Vs. Prince

April 28, 2010

When is a cover song better than the original? Only you can decide. This week Crooked Fingers takes on Prince’s “When You Were Mine.” MAGNET’s Edward Fairchild pulls the pin. Take cover! For the 2002 Reservoir Songs EP, Crooked Fingers recorded a handful of cover tunes, including this song by Prince. The band has recently announced plans for another round, this time featuring songs by Merle Haggard, Moby Grape, the Kinks and others. Reservoir Songs Volume II is currently seeking production support via indie-friendly project-funding site Kickstarter. A pledge of $6 will net you a high-quality digital download of the EP, and higher pledges offer fans the option for limited-edition screen-printed artwork and autographed test pressings. But the real prizes would be for those fans willing to spend $1,000 or more: A grand will get you the album, plus a Crooked Fingers recording of the cover song of your choice to be offered as a digital-download bonus track (some restrictions apply), and a pledge of $2,500 gets you the EP plus a private concert for you and all your friends. The Cover: [youtube]http://www.youtube.com/watch?v=270nz2Fe59E[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=LglBZESVcCI[/youtube] [poll id="83"]

Posted in TAKE COVER! | 6 Comments

Take Cover! R.E.M. Vs. The Troggs

April 21, 2010

When is a cover song better than the original? Only you can decide. This week R.E.M. takes on the Troggs' “Love Is All Around.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Mike Mills' singing has always been R.E.M.'s secret weapon. His understated, tender and honest delivery—mostly by way of background harmony—fills out the band's sound and helps pull the hooks of Michael Stipe's lead. It's what takes R.E.M. from being a good band to being one of the best ever. It's a rare treat for Mills to take the lead vocal on a song, as he did for this cover of the Troggs' "Love Is All Around" filmed in 1991 for MTV's Unplugged series. Later that year, Mills, Peter Buck and Bill Berry collaborated with the Troggs on Athens Andover. The Cover: [youtube]http://www.youtube.com/watch?v=-k3mG6CBE9I[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=3EXRPxC-5bE[/youtube] [poll id="81"]

Posted in TAKE COVER! | Leave a comment

Take Cover! Tripping Daisy Vs. Public Image Ltd.

April 14, 2010

When is a cover song better than the original? Only you can decide. This week Tripping Daisy takes on Public Image Ltd.’s “Rise.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Public Image Ltd. is back. After an 18-year hiatus, Johnny Rotten—sorry, John Lydon—has reunited the band and is kicking off an extensive North American tour this week with a show in Los Angeles before performing at the Coachella Festival over the weekend. Look for me at both shows. The band's biggest hit was "Rise," which featured Steve Vai on guitar. Here is Tripping Daisy, a band I saw more than a few times in Oklahoma during the '90s, with its psychedelic spin on the number, from the Time Capsule EP. The Cover: [youtube]http://www.youtube.com/watch?v=t_VUMvM_m0w[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=jPj-8_wOZcA[/youtube] [poll id="79"]

Posted in TAKE COVER! | 1 Comment

Take Cover! Lucero Vs. Jawbreaker

April 7, 2010

When is a cover song better than the original? Only you can decide. This week Lucero takes on Jawbreaker’s “Kiss The Bottle.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Originally appearing on a 1992 seven-inch compilation of Bay Area bands called 17 Reasons: The Mission District, this was the last song recorded before Jawbreaker singer Blake Schwarzenbach underwent surgery to have painful polyps removed from his throat. It is raw, rough and real. These days, Schwarzenbach is fronting excellent Brooklyn-based band forgetters. Check out Memphis' Lucero, with its own trademark gravel, adding some Southern-twang to Jawbreaker's already countrified punk ditty. The Cover: [youtube]http://www.youtube.com/watch?v=9ydB8fG8Csg[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=-ZTvqUvgYCI[/youtube] [poll id="78"]

Posted in TAKE COVER! | 6 Comments

Take Cover! Camper Van Beethoven Vs. The Status Quo

March 31, 2010

When is a cover song better than the original? Only you can decide. This week Camper Van Beethoven takes on the Status Quo's “Pictures Of Matchstick Men.” MAGNET’s Edward Fairchild pulls the pin. Take cover! "Pictures Of Matchstick Men" was the only hit for British band the Status Quo in the U.S., but worldwide, the group has gone on to sell more than 100 million albums. The song was partially inspired by artist Laurence Stephen Lowry, who would also be the muse for another U.K. hit song, Brian And Michael's "Matchstalk Men And Matchstalk Dogs And Cats." David Lowery (no relation to the artist) sang the Quo song on Camper Van Beethoven's 1989 album, Key Lime Pie, and turned it into a hit again, this time on the alternative-rock charts. The Cover: [youtube]http://www.youtube.com/watch?v=ShWNLlz4Ic4[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=3D4YYI8G5EM[/youtube] [poll id="75"]

Posted in TAKE COVER! | 5 Comments

Take Cover! The Tallest Man On Earth Vs. Son House

March 24, 2010

When is a cover song better than the original? Only you can decide. This week the Tallest Man On Earth takes on Son House’s “Death Letter Blues.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Son House is the man who started it all. For a few months in the early '30s, seminal bluesman Robert Johnson apprenticed with the musician, trying in vain to copy his style. In an interview with DownBeat magazine in 1966, House tried to diminish responsibility for the rapidly evolved playing technique of the late phenom Johnson, stating that Johnson left the town of Robinsonville for a few months and upon his return had improved so much, he "must have sold his soul to the devil in order to play like that." House was probably just being modest, but from that quote the legend was born. Watch the Tallest Man On Earth (Kristian Matsson) give his take on the often covered Son House song "Death Letter Blues" live at the Southgate House in Newport, Ky. The Cover: [youtube]http://www.youtube.com/watch?v=Ikq4Hw7De7c&[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=8jN5vqEyV7g[/youtube] [poll id="73"]

Posted in TAKE COVER! | 1 Comment

Take Cover! José González Vs. Joy Division

March 17, 2010

When is a cover song better than the original? Only you can decide. This week José González takes on Joy Division’s “Love Will Tear Us Apart.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Joy Division singer Ian Curtis took his own life shortly after the release of "Love Will Tear Us Apart." He was only 23. The title of the song was inscribed on his tombstone. Even though the other members would go on to form New Order, the two JD albums recorded with Curtis have proved to have a lasting impact, inspiring new generations of bands, fans and Hot Topic customers in the 30 years since. In 2008, Curtis' tombstone was mysteriously stolen from Macclesfield Cemetery, but later replaced with a new one. Ultimate memorabilia piece? Where would you even put that? Here is Sweden's José González giving a proper tribute, with a touching, acoustic performance of the song. The Cover: [youtube]http://www.youtube.com/watch?v=bfwm2qKPDZg[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=bjRkOZeV6T4[/youtube] [poll id="71"]

Posted in TAKE COVER! | 10 Comments

Take Cover! Head Of Femur Vs. Neil Young And Crazy Horse

March 10, 2010

When is a cover song better than the original? Only you can decide. This week Head Of Femur takes on Neil Young And Crazy Horse's “Come On Baby Let's Go Downtown.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Neil Young co-wrote this song with Crazy Horse member Danny Whitten, whose struggle with (and eventual overdose from) heroin served as partial inspiration for 1975 album Tonight's The Night. Originally released as a live version in 1970, the song was later recorded in a studio for inclusion on the next year's Crazy Horse. The show at the Fillmore from which the track was originally pulled was eventually released as a full-concert bootleg as part of Young's Archives series in 2006. Here is one of the best live bands I've ever seen, Chicago's Head Of Femur, performing the song at Emo's in Austin, Texas. Dig that fiddle. The Cover: [youtube]http://www.youtube.com/watch?v=obrmnOiUjY8[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=NCx_agNtSNQ[/youtube] [poll id="69"]

Posted in TAKE COVER! | 3 Comments

Take Cover! Radiohead Vs. The Smiths

March 3, 2010

When is a cover song better than the original? Only you can decide. This week Radiohead takes on the Smiths’ “The Headmaster Ritual.” MAGNET’s Edward Fairchild pulls the pin. Take cover! For the original recording of "The Headmaster Ritual," Johnny Marr used a Rickenbacker that belonged to Phil Manzanera of Roxy Music; the guitar was alleged to have at one point been owned by the Byrds' Roger McGuinn. Marr told Guitar Player magazine that when he wrote the song, he "fancied the idea of a strange Joni Mitchell tuning, and the actual progression is like what she would have done had she been an MC5 fan or a punk rocker." In 2007, Radiohead did a webcast of several songs from its rehearsal space, one of which was its take on the classic track from 1985's Meat Is Murder. The Cover: [youtube]http://www.youtube.com/watch?v=Blqt1yd_OSU[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=RgNfTx9pGzA[/youtube] [poll id="68"]

Posted in TAKE COVER! | 1 Comment

Take Cover! Albert Hammond Jr. Vs. Guided By Voices

February 24, 2010

When is a cover song better than the original? Only you can decide. This week Albert Hammond Jr. takes on Guided By Voices' “Postal Blowfish.” MAGNET’s Edward Fairchild pulls the pin. Take cover! The mythology of the Strokes holds that the band was discovered, at least in part, by Robert Pollard, after tossing a demo tape onto the stage after a Guided By Voices concert. It would be more than a little naive to assume the band would not have made it eventually without Pollard's help, given the members' industry connections (guitarist Albert Hammond Jr.'s dad is British pop singer Albert Hammond, and frontman Julian Casablancas' father is the founder of one of the world's top modeling agencies), but Pollard's seal of approval at least added to the Strokes' credibility. Not many people know that the 2006 debut solo LP by Hammond Jr., Yours To Keep, is better than anything the Strokes have done as a band. The North American CD release of the album featured two bonus-track cover songs, Buddy Holly's "Well...Alright" and GBV's "Postal Blowfish." The Cover: [youtube]http://www.youtube.com/watch?v=jEwGKwDC6Gk[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=eBps0PojKjI#t=3m30s[/youtube] [poll id="66"]

Posted in TAKE COVER! | 12 Comments

Take Cover! Superchunk Vs. Spoon

February 17, 2010

When is a cover song better than the original? Only you can decide. This week Superchunk takes on Spoon's “Anything You Want.” MAGNET’s Edward Fairchild pulls the pin. Take cover! Superchunk and Merge Records founder Mac McCaughan introduces this song by talking about the label problems Spoon faced and how the band came to Merge. When he launches into this acoustic version of its song, it's easy proof for why he and fellow Superchunk member Laura Ballance are running the best record label in the U.S.—you can tell McCaughan is obviously a big fan. This clip is from a 2009 performance at the University Of North Carolina's student bookstore. The Cover: [youtube]http://www.youtube.com/watch?v=1KYhDb7fBlA[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=i5a1kCDHC6Q[/youtube] [poll id="64"]

Posted in TAKE COVER! | 6 Comments

Take Cover! Jay Reatard Vs. Beck

February 10, 2010

When is a cover song better than the original? Only you can decide. This week Jay Reatard takes on Beck's “Gamma Ray.” MAGNET’s Edward Fairchild pulls the pin. Take cover! It's a fucking shame that we're not going to get any more new music from the late Jay Reatard. (His final album, Watch Me Fall, made MAGNET's list of the 20 best albums of 2009.) Two years ago, Beck asked Reatard to re-record "Gamma Ray" for the single's b-side. Frantic, multi-tracked vocals and a jolt of adrenaline were all he needed to make you forget who wrote the song in the first place. You will be missed, Jay. The Cover: [youtube]http://www.youtube.com/watch?v=qtMEgu_5aHM[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=NgzfncwjcCE[/youtube] [poll id="63"]

Posted in TAKE COVER! | 1 Comment

Take Cover! Minor Threat Vs. Wire

February 3, 2010

When is a cover song better than the original? Only you can decide. This week Minor Threat takes on Wire’s “12XU.” MAGNET’s Edward Fairchild pulls the pin. Take cover! When Wire recorded this song, it took multiple takes for the band to get it right because it was so fast. Minor Threat's version is twice the speed of the original. Try not to trash your place when you hear it. The Cover: [youtube]http://www.youtube.com/watch?v=wA1xlqVboWI[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=FdNS4g8vOnc[/youtube] [poll id="62"]

Posted in TAKE COVER! | 2 Comments

Take Cover! Hüsker Dü Vs. The Byrds

January 27, 2010

When is a cover song better than the original? Only you can decide. This week Hüsker Dü takes on the Byrds’ “Eight Miles High.” MAGNET’s Edward Fairchild pulls the pin. Take cover! When the original version of this song was released, it was temporarily banned from U.S. radio due to perceived drug references. At the time, the Byrds steadfastly denied the allegations, and it was only years later the band admitted that at least part of the song was inspired by its members' drug use. When Hüsker Dü released its version, the trio had its own controversy to deal with: What was a hardcore-punk band doing covering a song by some acid-headed hippies? Oh not much—just breaking down walls and destroying convention. Read our 2005 cover story on Hüsker Dü, the Replacements and the '80s Minneapolis scene. The Cover: [youtube]http://www.youtube.com/watch?v=xBKyBlJ_JN8[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=WH6UnvSlahc[/youtube] [poll id="61"]

Posted in TAKE COVER! | 6 Comments

Take Cover! The Langley Schools Music Project Vs. David Bowie

January 20, 2010

When is a cover song better than the original? Only you can decide. This week the Langley Schools Music Project takes on David Bowie’s “Space Oddity.” MAGNET’s Edward Fairchild pulls the pin. Take cover! In 1976, Hans Fenger, a Canadian music teacher, got the idea to record a bunch of school kids singing popular rock songs in the gymnasium. Two LPs came from the project, pressed only for posterity among the students and teachers. It wasn't until 2000 that one of the records was unearthed in a second-hand shop and re-released on the Bar/None label that the recordings became a critically acclaimed media sensation. The emotional resonance with which these children (most between the ages of nine and 12) sing remarkably outweighs the original, even on mature lines like "Tell my wife I love her very much/She knows." The Cover: [youtube]http://www.youtube.com/watch?v=inQlxNy3wdk[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=D67kmFzSh_o[/youtube] [poll id="60"]

Posted in TAKE COVER! | Leave a comment

Take Cover! Robyn Hitchcock Vs. The Psychedelic Furs

January 13, 2010

When is a cover song better than the original? Only you can decide. This week Robyn Hitchcock takes on the Psychedelic Furs’ “The Ghost In You.” MAGNET’s Edward Fairchild pulls the pin. Take cover! For an acoustic in-store performance at Tower Records in New York in 1989, the former Soft Boys frontman pulled out this Psychedelic Furs classic to close out his set. Without the drum machine or '80s synth, the song stands strong on its own, and Hitchcock's rendition is captivating even through blurry videotape. The Cover: [youtube]http://www.youtube.com/watch?v=cro7FvyDruM[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=6aMHL1lEQBk[/youtube] [poll id="55"]

Posted in TAKE COVER! | Leave a comment

Take Cover! Dr. Dog Vs. Architecture In Helsinki

January 6, 2010

When is a cover song better than the original? Only you can decide. This week Dr. Dog takes on Architecture In Helsinki’s “Heart It Races.” MAGNET’s Edward Fairchild pulls the pin. Take cover! For the release of 2007's Heart It Races EP, Australian band Architecture in Helsinki enlisted some friends for cover versions and remixing duty of the single. Dr. Dog practically owned it. The Philadelphia band put a rootsy, jammy twist on the island-beat psychedelia of the original, slowing it down and adding hand claps and a slide guitar. The Cover: [youtube]http://www.youtube.com/watch?v=0QvJ3dXqmvw[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=FE0Z-lw137I[/youtube] [poll id="53"]

Posted in TAKE COVER! | 4 Comments

Take Cover! The Gaslight Anthem Vs. Bruce Springsteen

December 16, 2009

When is a cover song better than the original? Only you can decide. This week the Gaslight Anthem takes on Bruce Springsteen's “Backstreets.” MAGNET’s Edward Fairchild pulls the pin. Take cover! The Gaslight Anthem is a band that wears its influences on its sleeve, going even so far as directly quoting songs that have influenced the group in its lyrics. The biggest and most obvious touchstone for the New Jersey foursome has been Bruce Springsteen. At the Glastonbury Festival earlier this year, the Boss even joined the band for a duet of its song "The '59 Sound." Here, Gaslight frontman Brian Fallon gives a restrained take on the epic "Backstreets" from one of the greatest albums ever recorded, 1975's Born To Run. The Cover: [youtube]http://www.youtube.com/watch?v=9QDJi91V70M[/youtube] The Original: [youtube]http://www.youtube.com/watch?v=5RS7mObS8a8[/youtube] [poll id="54"]

Posted in TAKE COVER! | 3 Comments