If you are currently binge-watching the Netflix show Bridgerton, yes, that was an orchestral cover of Ariana Grande’s “Thank u, next” you heard. The soundtrack to Bridgerton,a Shonda Rhimes 1800s period piece filled with wealth, lust, and betrayal, is overseen by composer and musician Kris Bowers. Bowers worked with Alexandra Patsavas, who is responsible for the six pop covers scattered through the series. Patsavas told Parade “the choices and their respective placements are each very deliberate, and that the Grande and Swift covers specifically ‘were able to tell the musical story and amplify a female perspective.”
Amigo the Devil – Before He Cheats (Carrie Underwood cover)
When we last heard Amigo the Devil, he was stripping down a Tom Jones song to create a haunting murder ballad. Now he does the same to another highly polished pop song – but a much more recent one. “[The original is] this very confidence-boosting, really good-feeling, power-infusing song,” Amigo’s Danny Kiranos told Rolling Stone. “I was curious what it would sound like if you took away the positive nature of it and kept the lyrics, essentially the emotions they are portraying.”
Brett Eldredge has put a country spin on Billie Eilish’s “When the Party’s Over” for his new single. The song was recorded live at Glasgow, one of Eldredge’s last shows during the European leg of his recent tour.
Miley Cyrus covered Billie Eilish’s “My Future” kicking off BBC Radio 1’s Live Lounge Month starting this September. The Live Lounge is closed because of the pandemic. So Cyrus created a set full of tiny glowing candles and a backing band. The band all following social distancing precautions and covering their faces with masks. The overall spacious warm stage area and red-carpet recall images of old-time starlets in jazz lounges.
Cyrus’s captivating performance includes her belting out the lyrics from the start, while Eilish sounds like she is holding back something in the first verse. There is a grittiness to the way Cyrus sings. This turns the song from a slow cool, crisp, beautiful ballad, into something reminiscent of a lively pop-tune. The overall feeling is a faster and brighter song.
The original, as well as the cover, begin with only a piano accompaniment. Halfway through, drums, guitar, and the rest of the band jump in changing the direction of the song. The piano in the beginning of the cover is already bright sounding. It blends smoothly when the rest of the instrumental voices kick in, after a stark dramatic pause between the sections.
Overall, the performance is a lot of fun and Cyrus clearly got into the show. She finishes with a flourish after the last line “see you in a couple of years,” adding a spoken line “but probably not” and sticking her tongue out, making the last line a whole lot less ambiguous.
1989 was a crucial time in my musical education. At age 11, I was several months into taking drum lessons when my teacher asked me a loaded question: “What drummers do you listen to?” Given that it was the ‘80s and I was deeply enthralled with metal, I rattled off a list of big-haired, double-bass drum playing thunder gods, including Anthrax’s Charlie Benante. My teacher, in what was likely a well-rehearsed speech, quickly rattled off a list of drummers I should be listening to including: Neil Peart of Rush, Bill Bruford of Yes, session drummer Steve Gadd and jazz masters Billy Cobham and Art Blakey. All great drummers, who I’ve been listening to for years – the fact that I can still rattle off the list 31 years after the fact is telling.