Oct 062010
 

Every Wednesday, our resident Gleek Eric Garneau gives his take on last night’s Glee covers.

Why do a feature on Glee?

Well, for one, it’s an insanely popular show. Second, and more importantly, Glee is pop culture’s number one source for cover music right now. It’s kind of sneaky about that fact; few people, if any, talk about the music of Glee as cover tunes, but that’s precisely what they are. Often the show’s performances don’t do much in the way of altering the original song as covers typically do, but sometimes they can surprise us. Regardless, I think it’s interesting to look at those performances: why the show chooses a particular song, how the arrangement differs (if at all), etc.

So it is that each Wednesday I’ll be doing a rundown of every track Glee covered that week, delving a little into the history of the original track and talking about how the Glee version relates. I suspect a lot of people who watch the show are introduced to a few new songs every episode (even a music nerd like me had never heard “Papa Can You Hear Me?” prior to last night — a crime, I know), but I also think that people really into music but not big Glee fans might enjoy seeing some fresh performances and reinterpretations of favorite songs. In short, I think this feature has something for everyone, and I hope you agree! Continue reading »

Aug 272010
 

Song of the Day posts one cool cover every morning. Catch up on past installments here.

San Diego songwriter Steve Poltz is hard to peg. He’s best known for his work with Jewel, co-writing her sappy 1996 hit “You Were Meant for Me.” You’d think that sentence says it all (specifically, it says, “I’ll pass”). But he recorded a whole record of 45-second answering machine records. And it’s one of Neil Young’s favorite albums. Okay, I’m interested again. He’s recorded songs for gooey romantic comedies, but his indie post-punk band inspired a Weird Al song. If nothing else, the man must have a very eclectic Rolodex.

He leans towards his sappier side on his new album Dreamhouse with Barbra Streisand’s “The Way We Were,” the title song to the 1973 movie. It’s schmaltzy as heck, but it’s well-crafted schmaltz. Put it this way: if the schmaltz-instrumentation continuum runs from acoustic guitar to synthesized orchestra, this falls to the former. Naming it one of the 100 best songs of all time seems a stretch (I’m looking at you, Billboard), but in Poltz’s tender delivery it’s perfect for a vulnerable moment. Continue reading »