Wow! This sounds pretty incredible. Has anyone in the group heard this? I
just looked for it on Kazaa, but I didn't have any luck. Any idea where else to
look for it?

If anyone here has it, would you mind posting it to the Files section of the
groups, so we all can enjoy it?

Thanks!


And here's looking forward to the tour next month!



--- In Iron_and_Wine@yahoogroups.com, Erika Herzog <erika_herzog@y...>
wrote:
> from:
> http://www.pitchforkmedia.com/wearetheworld/singles/i/ironandwine-
waitinforasuperman.shtml
>
> Iron & Wine: "Waitin' for a Superman"
>
> One of the arcane pleasures of file-sharing is
> record collecting in reverse: rather than
> spending endless hours combing eBay and record
> stores for that limited-edition seven-inch that
> was only available for five minutes from this one
> guy who used to do sound for Superchunk, you're
> often confronted with a download that, though
> fantastic, you never knew existed-- or where to
> find a legit copy. Such was the case with Iron &
> Wine's cover of The Flaming Lips' "Waitin' for a
> Superman", a haunting home-recorded production of
> the Soft Bulletin centerpiece. Turns out the
> track comes from a CD/zine called Yeti which was
> released earlier this spring by editor Mike
> McGonigal (and it's one of two covers from Iron &
> Wine on the disc-- he also tackles Stereolab's
> "Peng!").
> As on his cover of The Postal Service single
> "Such Great Heights" (who themselves covered a
> Soft Bulletin cut recently), Iron & Wine's Sam
> Beam finds textures and hidden subtexts in the
> song that the dense bells, strings and horns of
> the original never portended. Beam reinvents the
> architecture of the song from the ground up,
> building on a Travis-picked arpeggio of his own
> invention and dubbing three-part CSN harmonies
> over the choruses. Another guitar chimes in on
> the second verse for color; the faders rise and
> gently push the quiet guitars and three-Beam
> choir into a gentle orbit just below the
> stratosphere. Just when it seems the effect can't
> get any more surreal, the slide-guitar solo kicks
> in.
>
> The lyric "Is it overwhelming to use a crane to
> crush a fly?" takes on new significance here, as
> Beam achieves a similar, but somehow profoundly
> different, effect with Wayne Coyne's words and
> melody-- but without Dave Fridmann's gonzo wall
> of sound. Given Cat Stevens' legal action against
> the Lips for nicking the melody to "Fight Test",
> Iron & Wine's cover almost comes off like some
> 1960s prototype Wayne Coyne and his brother might
> have heard while rolling joints on the jacket of
> Piper at the Gates of Dawn. --Will Bryant