TAKE COVER

Because this is not that bad of an album. It is of course Queensryche's cover album, and contains their renditions of some classic, and perhaps not so well known rock and progressive rock.

Beginning with the haunting cover of Pink Floyd's Welcome to the Machine, the band is in top form, and Tate never misses a vocal beat. Complete with eerie saxophone accompaniment, this is truly a standout, and a fine tribute to the original, of which I will still say I prefer much over this version. Heaven on their Minds rocks things up a bit, with the metal version of the provocative riff found herein. I could easily see Geoff starring in a modern remake of Jesus Christ Superstar, and I think I like this version more so than the brilliant original.

Queensryche loosely follow their musical inspirations, and it flows skillfully. Still, Almost Cut My Hair seems forced and out of place with the more starkly serious affairs that are seen. They perform with venomously dripping drama inherent to high degrees. Certainly not offensive, though. For What It's Worth is another unexpected trip. This also doesn't feel up to par with the first couple of tracks. Always played with serious conviction, and I can't really complain, but it doesn't amaze me.

They haven't lost the battle to stagnation. Not yet. Because this is a rather diverse collection. As solid as this album is, some of the tracks just don't work so well. For The Love Of Money seems a bit silly. It is saved by Tate's vocals, though. He nails it. Innuendo is another song I like more than the original. The wailing guitars flail about competently, and Geoff is a master of that dark dramatic singing style.

But is he on the same level as Dio? Actually, he sounds almost note for note identical to Ronnie on their version of Neon Nights. I like it, but they don't do anything at all to make it theirs at all, but some people might prefer this. Ups and downs not withstanding, Synchronicity II just doesn't fit them. Even with all its conviction, it still is only a mediocre affair.

A wide range of artists are up for target, as even the master Peter Gabriel is payed tribute to. Red Rain is one of the best "moody" songs off the album, and it has a tasteful atmosphere. A cover album is dangerous territory, as it could be seen very negatively, and if you fail to properly respect the originals, you could be eaten alive by original fans.

Odissea proves this isn't the case (at least not entirely) for Take Cover. Tate always seemed to fit well within the opera vibe, and here he gets to spread his wings. It is something different, but at times I feel it doesn't come off as strongly as I would've liked. Closing the release is the live cover of Bullet the Blue Sky, from U2. At 10 minutes in length, it is an enjoyable jam, but a microcosm of sorts for the album in general.

Dramatic and somewhat faithful interpretations of old classics that are given an extra pinch of heavy and opera for good measure. It isn't terribly original, and more than a couple songs are mediocre, while some just don't work well, at all. The gems inherent are certainly worth listening to, and when they get it right, it is very enjoyable. Fine release.

Best Moment - First 10 minutes

Worst Moment - Synchronicity II

*** covered stars.

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