Musora is a music education channel based out of the Greater Vancouver Area in Canada with a number of YouTube channels. Some of their channels have featured musicians performing famous songs. Recently, the main channel has started a series where musicians have to cover a song in their own style and they don’t know what it is ahead of time. We here at Cover Me have written up one other Musora spontaneous cover.
The most recent episode features self-described emo/pop-punk/post-hardcore band Good Terms taking on Blondie’s “Call Me.” “Call Me” was actually written by Giorgio Moroder for American Gigolo, and lead singer Debbie Harry wrote lyrics to it once she was brought in. Blondie then performed the song and it became one of their biggest hits.
From the very opening, it is clear that Good Terms understand the purpose of the Musora challenge. Gone is any hint of Moroder’s electronic disco – from the very beginning it is post-hardcore guitars and drums. Lead singer Brian McShea follows the vocal melody but sings much more in an emo style to begin with.
For the chorus there’s a bit of a break and then a rhythm that is almost 3rd wave ska. There’s another little breakdown before the real show begins: during the second verse Good Terms go full screamo as bassist Geo Botelho briefly takes over the vocals. The chorus is the same as the first but then the bridge is completely transformed into a full post-hardcore/scream breakdown.
It works extremely well and it’s all the more impressive that they just did it on the spot. The full performance starts around 10:58 but it’s fun to watch them working it out too:
Nouvelle Vague is back with a new collection titled Should I Stay or Should I Go? I’m going to hesitate in answering that question, as there is the one more demanding, about how this lot are still going. No offense intended, mind; back in the day, Nouvelle Vague’s bossa nova revisiting of punk and new wave songs was really something to behold, with both the novelty and the application well worthy of praise and merit. But now? I know a version has been touring, but I hadn’t appreciated they were still marketing something new, or, more to the point, new to them. So, is this a soft sophisticated samba swirl through the song cycles of Eilish and Swift, Sheeran and whoever else the young people adore? Ummmm, nope. This is a further trawl through the hallowed dusty halls of the last century. Or, more to the point, hoping the audiences who loved them near two decades ago will still love them now, and are still listening to their tired old record collections.
