Heroes, the new War Child album, released March 3rd in aid of children affected by war worldwide, is an interesting mix of dance, rock, nouveau ballads, electro-rock, and all things between. Featuring an array of modern artists covering classic tunes by their legendary forebears, it has a hodge podge of bright spots, some fair material, and only the occasional dud.
Standouts on the sixteen-track album include the Canadian, Berlin-based electro-punk artist Peaches doing a menacing, steamy version of Iggy Pop’s “Search and Destroy”; with her rough voice and pulsating beats, you can almost picture Peaches’ sinewy figure up shimmying against Pop’s own slithery brand of sex appeal. Indie darlings The Kooks deliver a peppy, loving version of The Kinks’ “Victoria,” reminding listeners that the influence of the Brit popsters’ sound still considerable. Hipster favourite Hot Chip do a low-key dance-y version of Joy Division’s “Transmission” (another track that feels very contemporary), utilizing steel drums at points, as well as a vocoder that brings in more than a touch of Queen’s “Radio Ga-Ga.” Equally effective is rock/pop/dance band Scissor Sisters’ cover of Roxy Music’s “Do The Strand,” electrified and full of pulses and glammy dance-floor beats. The title track, TV On The Radio’s take on David Bowie’s “Heroes,” hums and throbs with a noisy electro-rock beat reminiscent of MGMT’s “Time To Pretend.” Scottish rockers Franz Ferdinand offer a blistering live rendition of Blondie’s “Call Me.” With its raucous, righteous rock and roll, and the loud guitar lines echoing early Black Sabbath, “Call Me” is a definite stand-out.
Ballads get their fair due on the album too. Canadian singer/songwriter Rufus Wainwright puts his gorgeous pipes to good use with “Wonderful/Song For Children,” a soaring medley based on Beach Boy Brian Wilson’s “Smile.” Adam Cohen, son of poet/musician/all-around legend Leonard Cohen, contributes a lovely, live, Spanish-language version of “Take This Waltz,” complete with gentle strumming guitars and simple orchestration that builds to a tuneful, rootsy conclusion. Both are refreshingly free of the maudlin sentimentality that could’ve easily blighted each track, but are nonetheless delivered with passion and originality.
Unfortunately, the same can’t be said for Lily Allen’s limp version of “Straight to Hell,” the classic track by The Clash used by M.I.A. to such famous effect in her monster-hit, “Paper Planes.” Allen delivers a saccharine, bland version of the deeply political tune, offering no interpretation of the steaming anger behind Joe Strummer’s lyrics (which would’ve been timely, all things considered). Former Clashman Mick Jones helps to back up Allen, but adds little to the overall, too-cutesy production. Equally lacking in passion is Estelle’s disappointing version of Stevie Wonder’s “Superstition,” a tune that is meant to soar (like much of Wonder’s material) in the voice of the deliverer. Alas, the Brit singer has neither the chops nor, it would seem, the passion, to deliver what is essentially an uplifting song, robbing it of its bouncy, funky nature.
Nevertheless, War Child: Heroes is still a strong album, for the variation of sound it contains and the interesting blend of artists and material. Also making contributions are Beck, contributing a peppy, rocking version of Bob Dylan’s “Leopard-Skin Pill-Box Hat,” Welsh singer Duffy, doing a stripped-down “Live And Let Die” by longtime War Child supporter Sir Paul McCartney, and The Yeah Yeah Yeahs, covering The Ramones’ “Sheena Is A Punk Rocker” with appropriate sneer. Many of the cover versions are lovingly rendered, with touches of individuality, modernity, and innovation, but there is a, simultaneously, a distinct sense of reverence and admiration. And, better yet, it’s all in aid of a good cause –that’s music to anyone’s ears.
