One of the hottest bands in the bluegrass and jamband scene, Greensky Bluegrass never seem to stop touring. As evidenced by their three appearances at last week’s Telluride Bluegrass Festival, the band is working hard in support of their latest release, Handguns.
Every Wednesday, our resident Gleek Eric Garneau gives his take on last night’s Glee covers.
In “Mash Off,” New Directions and rival glee club The Troubletones square off in a friendly competition to see who can produce the best mash-up in preparation for the upcoming sectionals competition. But what starts as jovial quickly turns sour, especially for Santana (Naya Rivera), who’s sitting on a pretty big secret that’s about to come out.
It’s about time for Glee‘s annual mash-up episode. I’ve talked before about how much I enjoy it when Glee travels down that particular road, so I’ll just give a quick recap here: mash-ups give Glee a chance to do something it rarely does otherwise, which is get creative with song arrangements. That’s because the show has no choice; these mash-ups have no precedent and are invented specifically for these episodes, which means they have to be at least somewhat creative, even if that creativity’s misdirected.
The Stray Cats led a rockabilly revival in the early ‘80s, infusing the ’50s genre with a punk sensibility to create a movement that persists today. Following the breakup of the Cats in 1984, bassist Lee Rocker has continued to pursue music, both as backup for musical luminaries like George Harrison, Carl Perkins and Keith Richards, and as a solo artist. For his latest release, The Cover Sessions EP, he recorded six tracks by artists like the Beatles, Elton John and the Allman Brothers.
Rocker’s result, while enjoyable, doesn’t break much ground. He gives the opening track, The Beatles “Come Together,” the biggest makeover. Stripping the song of its trademark bass riff, he powers it instead with harmonica and a quick guitar pulse over a steady shuffle beat. Together, it complements John Lennon’s proto-rap verses surprisingly well. He deconstructs the chord progression in the chorus as well, without losing the punch of the original.