popwreckoning

If you haven’t heard already, Berkeley’s own The Morning Benders released a groovy cover of The Strokes classic hit “Last Nite.” The boys sent out an email earlier this week to their mailing list about the cover, and it’s available to preview and download over here at their Tumblr page.

Or to download it directly, click HERE.

I’m personally digging the Morning Benders’ slowed-down angelic take on the garage rock hit. It’s like they threw the song to the west coast, put it at 70%  speed, and slapped on some synthesizer. What do you think?

I heard an awful cover of Lady Gaga’s “Just Dance” the other night by a cover band. You know the kind; it plays Nickelback, Daughtry and will most likely play at the wedding of your fifth cousin whom you have only met once and posts pictures on Facebook of themselves smashing beer cans on their forehead at frat parties while wearing an Affliction t-shirt.

Although this rendition of “Just Dance” was not a great one, I realized that no matter how bad, any cover of Gaga is a winner in my book.

My favorite Gaga cover, however, is the “Telephone” one that YouTube sensation Pomplamoose did.

Jack Conte and Nataly Dawn add quirky faces and killer video editing to transform a song into a catchy indie dance hit. I could go on about how great it is, but I’ll just let you see for yourself.

Then be sure to check out the rest of Pomplamoose’s music here.

While most MGMT news these days tend to veer toward the band’s newest material, I’m still hung up on one of their classics: “Kids.”

Not only am I sucker for that catchy synth melody, but I’m a sucker for all covers of this song. I think it started with Jack’s Mannequin‘s slowed down acoustic rendition. Well, the folksy “Kids” version just got even better. The Ooks of Hazzard have covered the tune with an ensemble of seven ukuleles, an accordion and a cajon. It gives the song a whole new meaning. Check it out in the video above.

You should already know that those of us at  PopWreckoning love a good cover song. Now, usually we spotlight other indie acts covering fellow today we want to give special attention to a group delivering great cover after great cover: The PS22 Chorus.

If you’re unfamiliar with the PS22 Chorus, it is an elementary school chorus from Public School 22 in Graniteville, Staten Island (New York). Director Gregg Breinberg formed the group of 60-70 fifth graders and blogs about their experiences and covers here. Since their formation, they’ve received attention from artists such as Matisyahu and Tori Amos, as well as television attention. They’ve even performed for President Obama. Perhaps you remember hearing their vocals on Passion Pit‘s debut album Manners?

Though the group has already exploded on the interwebs and you might already be aware of them, we wanted to share of few of their covers of some of PopWreckoning’s favorite artists.

Enjoy!

The group’s latest cover of Marina and the Diamonds‘ “I Am Not a Robot.”

Beach House‘s “Zebra”

Phoenix‘s “Lisztomania”

Lady GaGa‘s “Just Dance”

“My DriveThru” originally with N.E.R.D., Santogold, Julian Casablancas and Pharrell

It’s been too long since our last Under Cover feature, so we’re getting back into the swing of it with this special cover.

The Bravery just released their new album, Stir the Blood, and to celebrate the release, they visited the Yahoo studios to record live their hit single “Slow Poison” and a cover.

They covered their favorite track by the gods of harmony, Fleet Foxes. Here’s the original “White Winter Hymnal” by the Fleet Foxes:

The Bravery added synths, giving the song more of a dance beat, making it their own style, yet they kept the character of the song with the emotions and beautiful harmonies. I like that they kept the original music video playing behind them as an added tribute to the original.

Be sure to check out The Bravery’s latest album on iTunes here.

The Bravery: website | myspace

Death Cab for Cutie‘s frontman Ben Gibbard seems to be all over the  music news outlets these days. First the guy gets attention for his marriage to Zooey Deschanel. Now his band’s getting attention for being  the lead single for the popular “Twilight” series’ next movie “New Moon.” I think his name constantly coming up in half the headlines on my Google Reader was a sign that he needed to be featured on PopWreckoning as well and what better place to feature somebody so in the spotlight than by putting that person under cover?

Give Gibbard a guitar and put him alone on a stage and inevitably the guy slips into some sort of cover song. No matter the original quality of the song, he’ll cover it. Indie or pop, he’s done it all. I’m actually really surprised there hasn’t been a Death Cab cover album yet.

So for this week I bring you the best (or maybe the worst if you don’t have a sense of humor) of Ben Gibbard’s cover songs. He’s done a ton, so look for this to be a multi-parter.

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.Backstreet Boys – “I Want It That Way” (original, 1998)
.“I Want It That Way” (cover, 2001)

Bellingham, WA. If I could go back in time to any show, it would be this tiny show at the 5th Floor Coffeehouse in January 2001 in Bellingham. Gibbard’s local, so it was intimate with family and friends. This was also his first public solo show since Death Cab formed four years prior. The atmosphere was already special. So when Gibbard acts all serious and hypes up this little cover he is about to whip out, it was like the icing on the cake for an already perfect show. A big breath…the anticipation builds…”You are – my fire.” Laughter. Backstreet Boys was not expected, but like I said, this show was a special occasion. This cover isn’t mind-blowing. Gibbard is pitchy in spots. And it is just downright silly that he is playing it off as this great masterpiece of a song that he is covering as a simple acoustic piece. Yet that is the genius of so many of Gibbard’s covers. Musically, they’re nothing too complicated, but he brings such a fun performance to his versions, that they really are treats.

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.Michael Jackson – “Thriller” (original, 1984)
.“Thriller” (cover, 2007)

Gibbard covered this song  at Theater of the Living Arts and I was unsure about including it on here. Michael Jackson’s “Thriller” sounds nothing like this and yet that is exactly what won me over to this cover. Gone are the glossy synth notes that cue Jackson’s “Thriller” so well that you know what it is within two notes before it hits that lovely rolling bass.  Gibbard’s version is definitely that signature Death Cab indie folk sound. He’s managed to strip the Jackson hit into a simple strummed guitar tune. I also am a dork and I think it is hilarious that Gibbard had to read the lyrics off a piece of paper for this and still forgets lines midway through. I find it part of his charm.

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.Avril LaVigne – “Complicated” (original, 2002)
.“Complicated” (cover, 2008)

I’m pretty sure I wanted to shoot myself whenever Avril’s “Complicated” came on the radio in 2002. Her voice was just so nasally and her idea of punk was just so…pop. Not too mention she had that ridiculous intro, “Uh huh. Life’s like this.” Gag me. I guess you could say she was acting on her lyric: “trying to be cool, but looked like a fool.” Then Gibbard comes along and nearly six years later and turns it into a slow, folky number. About 50 seconds in, Gibbard starts chuckling and says, “This is a serious song.” I’m not sure if he is telling that to the audience or a reminder to himself, but either way, it is his personality that makes this song worth the listen. Heck as much as I love his music, the best part is the end when he gives a little commentary on the song, “It’s pretty cut and dry. Complicated? What the hell are you talking about? I like to dress in different clothes.” Aw, Ben. This is why we love you.

Death Cab for Cutie: website | myspace

Welcome back, readers!  Last week we noshed on Sacramento’s finest CAKE and had ourselves a little e-ball (well, I sure as hell did.  You may have too).  This week’s post was about as contrived as an unplanned pregnancy scare considering I recently stumbled upon Adam Sandler and Drew Barrymore‘s 50 First Dates, their second RomCom collab since The Wedding Singer (one of my all-time favorites), and I definitely drew inspiration from it.  In fact, the movie was surprisingly enjoyable and dare I say cute as hell.  Normally, I enjoy the RomCom’s that require you to think with a more intellectual heart (See: High Fidelity, About A Boy… basically, anything that was once a Nick Hornby novel), but this no-brainer’s killer soundtrack effortlessly kept me from hitting the power button off.  Maybe it was the fact that the movie takes place in beautiful Hawaii, but the entire soundtrack consists of sunny cover versions of songs that were originally recorded in the 1980s.  If this weren’t intriguing enough, all the delightful interpretations are upbeat and of the reggae and/or ska persuasion.  What?  My once hepcat ass was reeling as I made it through the movie cataloging which songs they chose for each scene.  It’s a good thing the film was actually worthwhile because if it was half as awful as I’d originally suspected, 50 First Dates would have climbed very high on my “Movies That Should Have Gone Straight To Soundtrack” list.

Considering the fact that my 50 First Dates viewing pleasure was recent, I did not have sufficient time to properly listen to the entire soundtrack, so you know what that means.  Yes, this will be a 2-parter.  And what better way to satiate my readers than kicking things off by getting the heavily commercialized 311 cover of The Cure‘s “Lovesong” out of the way.  And to the folks at home, mahola nui loa for reading…  and, as always, stay tuned.
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The Cure’s “Lovesong” (original: 1989)
Quasi-Cure fan, über-Cure fan or just plain musically oblivious, I could probably never have a meaningful friendship with someone who has never, at the very least, heard this classic love song.  You’re probably looking at a superficial connection at best.  Hell, the chances of a potential relationship would basically be DOA, too.  Yeah, that’s really a testament to how incredible this song really is.  Written for then fiancee Mary Poole as a wedding present, lead singer Robert Smith once again sets the relationship bar very high for clueless men who think half-assed pick up lines will do just fine.  I’ve read that Poole not only inspired “Just Like Heaven” as a friend, but got “Lovesong” too… just for being more than his friend!?  Sigh, what an honor.  “However far away, however long I say, whatever words I say, I will always love you…” Damn, that’s romantic.  And a much more eloquent way of assuring your lady that you won’t cheat on her when your band is on tour, no matter how much boy band ass is lined up outside the tour bus.  Teenage Twi-hards probably think Robert Pattinson is responsible for putting the brooding, British male on the map.  Ahh, silly youth of today.  I wholeheartedly disagree since Smith’s been making a career out of this for several decades and probably looks twice as good in guyliner than Pattinson.

311 – “Lovesong” (cover: 2004)
Don’t you love it when a reggae-meets-alt-rock band like 311 scores a #1 hit on the Modern Rock Track chart with a Cure cover when the original only made it to #2 on the same chart back in its heyday?  WTF?  Just another non sequitur of the modern music world that makes it hard to keep the faith (or whatever’s left of said faith) alive.  In keeping with the tropical, ethereal feel of the movie, lead singer Nick Hexum takes things down a notch with a slower-paced, melodic “Lovesong” that fits in seamlessly with their catalog of easy, breezy stoner surf-rock.  I expect nothing less than relaxing reggae-rock from the band that brought us the beautifully hazy “Amber,” a song that practically serves as the musical equivalent to laying in a hammock in an island paradise.  This Cure cover is dripping with heavy mood and contains all the same longing, yearning, promising, and professing of the original.  The shreds of guitar cut through the track like a knife, the bass line could lull the sleepless better than Ambien, and Hexum’s lazy vocals calm the stormiest of souls. If a pot-smoking couple is looking for a song to soundtrack that fleeting moment when you are admiring your significant other’s sparkly eyes and dilated pupils in the moonlight (regardless of the fact that his/her inability to yet master the “puff, puff, pass” etiquette grates on you), this lovely song is probably as good as it’s going to get.

Welcome back and uber-apologies, readers!  In case you’ve been wondering where my Carmen Sandiego ass has been the last 2 weeks, well, I’ll tell you.  The Californication and the splendor of the Pacific Ocean swallowed me whole and took away my ability to write anything worth reading.  I can’t explain it, really.  I’m not sure if it was all the sun, the Mexican good eats, the clear weather, laid-back vibe, or the fact that I came home in a bigger funk than when I left for The Golden State, but something shifted in the overhead compartment in my head during flight.  But please note– I am back, somewhat.  Whatever the fuck that means.

My last two posts were decidedly Kanye-esque (8/19 | 8/26) and you would think his recent VMAs fuckery would inspire a third installment, right?  Well, I am happy to report that I’m all Kanye-ed out and will not be mentioning his bitchass for a while.  As if his famewhoring ego needs any more attention, as is.  The one good thing is I did listen to lots of music in Cali, particularly copious amounts of Jimmy Eat World, Ted Leo, Arctic Monkeys, and assure you this will jumpstart a slew of new Under Cover posts I am amped to share.  This week will be dedicated to covers by CAKE, the Sacramento-based band that I spent a good chunk of time falling back in love with while driving around the quaint areas of San Diego, plus I even got to catch them live while there (review to follow!).  I’ve been listening to so much CAKE lately that I don’t even have the time to eat cake, let alone bake one.  Who doesn’t love a band who has made a career out of clever usage of trumpet, the occasional Moog, witty wordplay, and half-spoken half-singing vocals?  Seriously.  Here.  Enjoy a nice, big spoonful of e-CAKE.
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.CAKE – “I Will Survive” (Gloria Gaynor cover)
If you’ve never heard Gloria Gaynor‘s original version then clearly you’ve never turned on a radio, gone to a school dance, or suffered through a painfully fun karaoke night at any bar in anytown, USA.  Perhaps the de facto female empowerment anthem of this century (chill Aretha, I’ve mentioned you before), I love to hate this song, hate that I love it, and apparently CAKE felt the need to put their own jazzy spin on it from the male point of view.  I love lead singer John McCrea‘s deadpan vocals, the general “fuck you, I don’t need you” attitude, the mariachi-style trumpet outro that perfectly complements the swan song feel, and the profanity.  I read this is Gaynor’s least favorite version due to the profanity (they switched her “I should have changed that stupid lock!” to “I should have changed my fucking lock!”), but for me this actually just gives me more reason to love it.  Ha.
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.CAKE – “Mah nà, Mah nà” (The Muppets cover)
If you grew up on Sesame Street, then you should instantly recognize this song that was popularized by those ever-nutty Muppets.  It’s irritating as hell, it sticks in your head, you’ll find yourself humming it without even realizing why or where it’s from… yeah, it’s just that awesome.  This cover is just so gosh darn cute and a pretty ingenious selection to feature on a B-sides and Rarities album.  I love the syncopated guitar riffs, hand claps, morsels of Moog, the dude who sporadically yells in the background, and the repetitive “mah nà, mah nà” that basically sounds like The Muppets were in the studio with CAKE.  Mah nà, mah nà, do do do do do.
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.CAKE – “War Pigs” (Black Sabbath cover)
Okay, so I don’t really think Ozzy Osbourne when I listen to CAKE, but maybe they’re huge Black Sabbath fans?  I’m going to go ahead and forgive them for this cover because it may only have been done to pay homage to a band they dig, but it’s sort of awful.  When they sing “Now in darkness world stops turning, as you hear the bodies burning” while lacing in a little Moog, it doesn’t send the same chills down my back as when Ozzy sings the same lyrics all ominous and prophetic.  I can’t really take this rendition seriously, it’s a doozy.
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.CAKE – “Perhaps, Perhaps, Perhaps” (Osvaldo Farrés cover)
“You won’t admit you love me, and so… how am I ever to know?  You only tell me ‘Perhaps, perhaps, perhaps.’” Man, that sounds irritating as hell.  Originally known as “Quizás, Quizás, Quizás,” (or “Perhaps, Perhaps, Perhaps” in English) this flirty gem of a little song about confronting a wishy-washy lover was written by Cuban songwriter Osvaldo Farrés, translated into English lyrics by Joe Wilson, used in countless movies, and popularized by the likes of Doris Day (my favorite version), Nat King Cole, and even the Spice Girls.  With CAKE’s slow groove and jazzy latin flair, the muted drum rolls and saucy trumpet, this song comes alive in new ways, especially since I’ve never heard a male version before. The Doris Day version always makes me want to learn the tango and dance a wishy-washy pseudo-boyfriend off a cliff if he keeps perhaps-ing my ass to death.  CAKE’s version just makes me want to blast it while throwing the aforementioned dude’s clothes and assorted unmentionables off my balcony.
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