Under The Covers Vol. 2 (Deluxe Edition)

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Under The Covers Vol. 2 (Deluxe Edition) album cover
Album Information

Total Tracks: 26   Total Length: 105:01

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"Nice," but pretty of boring.

badneighbordave

Matthew Sweet and Susanna Hoff's harmonies plus excellent song choices--what's not to like? The fact that over all, it's pretty boring--that's what. Some cuts they've covered verbatim--big whoop! Go listen to the originals--they're better. The ones that they haven't done verbatim, they've brought nothing new to. I'd love to go into a studio and record 26 of my favorite songs, but I'd probably be humble enough to just give it to my friends and family for Christmas. And Susanna--you've taken what may be the best power pop song EVER, and completely drained it of any life. Pete Ham must be spinning.

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If they are bonus tracks why to they take credits?

Wadewski

If they are bonus tracks why to they take credits??

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Harmony in the details

kpooautumnking

I am crazy about their first album so I was excited by this one and thrilled there is a bonus disc. They cause me to go back to find the original versions but not because the original is necessarily better. I wish they would take on the 50's but that probably won't happen!

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You gotta love it

tommoran

Retro covers of some the better songs ever. Both discs have great songs. Mathew Sweet rocks and this is no different. Highly recommended if you'd like a fun visit to the past.

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17 credits today, tomorrow?

harryrag

the second disc is nothing to sneeze at. the first/main disc is basically the early 70's,, the bonus disc is the pretty much the later new wavish 70's. I like the Marquee Moon track, but if I want to spend 10 minutes, next time I will stick with the Television Original. Of couse you can say that about most "Covers Albums'. Highlight the Susie (Girls) take of "Go All The Way" It makes the song sound like it was meant to be sung by a girl asking her boyfriend to, uh, Go All The Way. The George Harrison Beware Of Darkness is also very good, A nice deep track of George's. As mentioned earlier; completists can find the Marquee Moon track at Amazon

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Willin'

timabouttown

How could you NOT want a record where Susanna Hoffs sings "Smuggled some smokes and folks from Mexico"? Kidding aside, this is a wonderful set of covers from 2 people whose roots are even more deeply in the 70s than the 60s (covered in the also wonderful first volume). As a result, there's real passion here, in what could have been little more than a hootenanny singalong. Seconding Bluesboy: go to the regular version of this, download the first disk for 12 credits, then skip Marquee Moon here. I skipped a couple of other bonus tracks too -- not as essential as disk one, but some great stuff too.

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100x better than most tribute dreck

Dvoodoo

These versions are generally 100x better than the typical tribute album stuff one might find perusing the dregs of eMusic's off brand catalog of unoriginal and recut rock classics. I really wish people would review the music, instead of the delivery system. So, for the uninitiated, Matthew Sweet & former Bangle Susannah Hoffs do some stellar work here duplicating the sound and flavor of some of their fave 70's tunes. If you liked the sound of Hoffs' lilting voice set against Sweet's compressed and gently fuzzed guitar on Vol. 1... you will probably dig volume 2. Me, I'm not so sure I need to own another version of Marquee Moon, or Killer Queen, even if they are redone so meticulously like this...I certainly appreciate the effort that went into it, but after the novelty wears off, I kinda get left with the sinking feeling that my old Blondie, Big Star and Rundgren albums were simply much better than anything on the market these days.

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Good Set - But go ahead and avoid "Marquee Moon"

Bluesboy

I got the regular version for 12 credits, the other available 9 bonus tracks here, and Marquee Moon at Amazon. IMO, Marquee Moon is the track on this album that you need least. Having said that, this is a good set of covers, with Matt & Susie traveling the Power Pop route. Standouts are "Go All the Way", "Bell Bottom Blues", "Baby Blue", "All The Young Dudes", and "Killer Queen". Most of the rest is pretty good too.

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bad credit

EMUSIC-005B0B63

This is starting to be a very big deal to me. I'm about 2 weeks away from canceling and moving to iTunes. I can understand that you needed to change your pricing in order to grow the service but if it ends up costing more to get albums, what's the point of eMusic anymore!

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What's the deal with the credits?

icky

I thought the new deal with the credits was that credits cost more, but in exchange there's a 12 credit max for an album. Here, we can get the regular version for 12 credits, but the "deluxe" version -- with 10 more songs -- costs 26 credits!! Shouldn't the extra 10 songs cost 10 credits -- or at most 12 for an additional disc? -- yes, you can get most of the songs individually, but you can only get the great Television song "Marquee Moon" with the whole album download -- so it's really 4 credits for that one song. It's not so much that 2 - 4 credits kills me, but it feels wrong.

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They Say All Music Guide

A sequel to Matthew Sweet and Susanna Hoffs’ 2007 stroll through the ’60s was perhaps inevitable, at least as inevitable as the decision to devote Under the Covers, Vol. 2 to the super sounds of the ’70s. Sweet and Hoffs tend to pick ’70s songs that are a bit more familiar than their ’60s selections, never digging out a Me Decade equivalent of Marmalade’s “I See the Rain” or the Zombies’ “Care of Cell #44,” but instead punctuating AM pop hits and FM rock staples like “Sugar Magnolia,” “Second Hand News,” “All the Young Dudes,” “You’re So Vain,” “I’ve Seen All Good People,” and “Maggie May” with power pop by the Raspberries (“Go All the Way”), Big Star (“Back of a Car”), and Todd Rundgren, who has no less than two songs from Something/Anything? featured here. The influence of that 1972 double LP can be heard in the similarly homespun production of Under the Covers, Vol. 2 but where Rundgren was open-ended, Sweet neatly ties up every loose end with the care of a pop fetishist, making sure all the harmonies and guitar licks are in place, never adding any untasteful elements. Sometimes, everything is a little bit too pat and pretty — particularly on “Sugar Magnolia,” whose processed guitars sparkle too brightly — but the duo’s enduring, endearing love for this music is evident, sometimes infectious, and, at its best, throws out some surprises, like Susanna’s soulful reading of “Maggie May.” – Stephen Thomas Erlewine

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