Unlike Buffalo Springfield though, they failed to recognize that love is a big part of social protest and their cover doesn’t have a drop of it. When I saw "For What It’s Worth" on the track list, I was surprised, but Queensryche did kind of fancy themselves social commentators. It’s as if they never understood the song in the first place. Of course, they fail, but success wouldn’t have been much better. Of all the tracks, I suspected a band as emotionally crippled as Queensryche had the best shot at success with the deliberate coldness of Pink Floyd’s "Welcome to the Machine." Instead of allowing their weaknesses to work as a strength, they feebly attempt to make it emotional. The covers on this album range from uninteresting to unlistenable. Needless to say, I didn’t expect Take Cover to be very compelling and it wasn’t. While most who can take honest stock of Queensryche today would argue that they are the latter, I tend to think of them as a band who was, despite a good deal of technical prowess, not all that interesting in the first place. This trend, similar to the current trend of Hollywood remakes, made me fear for the creative future of rock n roll until I realized that the bands making these albums are generally those whose creative force have either never been strong or are so far in the past that they may just as well not have existed. But there’s a big difference between the occasional cover that pops up on an album or a live set and releasing a whole album of someone else’s songs. A cover here and there isn’t a bad thing and often playing covers helps a band know itself.
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