Idol Thoughts: Viewer Votes - Round 2

Another entertaining week of "American Idol", and another four contestants are about to get shown the door. And, of course, another post from me yammering on about it. Hey, I correctly called three out of the four eliminations last week, so maybe my opinion is worth reading, eh? It can't be worse than Simon Cowell's.

The guys put on another good show. The first one to really dazzle me was Luke Menard (Yes, anonymous reader/commenter from last week, I remember him this time!). Perhaps it was the song he sang -- I'm usually a sucker for a Queen cover -- or maybe it was the excellent way he pulled it off. David Hernandez was fantastic as usual ... that guy has way more raw soul in his voice than any of the other guys there, and I hope he's in it for many more rounds to come. I got to see the very talented Chikezie strut his stuff -- as you recall, I missed him last week, and from what I heard it's probably just as well that I did. He showed real promise with this week's performance.

For some reason, the judges thought far more of David Cook than I did. I don't know why, but I thought he was just plain okay. I had the same lukewarm reaction to Robbie Carrico. Jason Castro, again playing the guitar while singing, was good, but not quite as good as last week. And Danny Noriega ... I tell you, I'm torn about him. The girls love him (Am I the only one a bit curious about the irony in that?), and he's a genuinely lovable guy ... but after his tempo problems last week and his numerous flat notes this week, I have to admit that I'm not totally loving him as a singer; maybe "Idol" is just not the vehicle for him. Cruel as it may sound, I just hope he's voted out soon ... he does deserve better than to be remembered as this year's you-know-who.

Who I think ought to be eliminated: Jason Yeager (let's face it, he's pretty ordinary and kind-of gets lost in the crowd, and he gave a plain old okay performance this week) and Danny Noriega (believe me, I so hate to say it).

Who I think will be eliminated: David Cook and Jason Yeager.

Who I voted for: Do I even need to say it? Yes, yes, it was David Archuleta. If you missed it, watch his performance of John Lennon's "Imagine" (it gave me goosebumps), and you'll see why I'm totally nuts about this kid. If he doesn't walk away with the title this year, I'll be more than speechless, more than dumbfounded ... I think my whole central nervous system might actually implode.

There were a good few standout performances from the ladies as well. Carly Smithson, who I found rather ordinary last week (a far cry from the judges' raves about her), kicked things off with a much more memorable turn this week. I don't think she'll be going away anytime soon. Brooke White really came into her own with a Carly Simon number (while playing guitar) -- I agree with the judges that it was a perfect song choice. Asia'h Epperson had me very worried; she started out rather weakly, but by the end of her song she was soaring. I don't know that I'd give her the raves that the judges did, but she deserves to stick around, at least for awhile.

A bit disappointing, but still excellent, was Syesha Mercado, my favorite from last week ... now that I think about it, maybe disappointment was inevitable, considering how spectacular she was last time. Amanda Overmyer was better this week (singing "Carry On Wayward Son") than she was last week, but she still has yet to wow me in the performance stage ... kind-of funny, since I loved her so much before last week. Another case of the judges finding much more to like in a performance than I did (and again, for reasons I couldn't tell you) was Kristy Lee Cook ... maybe I'm just not crazy about the song?

Who I think ought to be eliminated: Kady Malloy and Alaina Whitaker (both so-so performances from okay singers ... again, a case of there being just nothing special about them).

Who I think will be eliminated: Kady Malloy and Alexandrea Lushington.

Who I voted for: Ramiele Malubay ... maybe the judges thought the song choice and the performance were lackluster, but I loved it! I'm just not the kind of person who bounces around in his chair to a song, but that's what I was doing while she belted out "Don't Leave Me This Way".

Okay ... on to the resuls show on Thursday, then next week's round!

Sugar Ray

SUGAR RAY
"SUGAR RAY"
(Atlantic, 2001)


"Disasterpiece"


Thanks in part to its ridiculously photogenic lead vocalist, Mark McGrath, California band Sugar Ray hit it big at the turn of the millennium, starting out their major-label career as a raucous rap-metal group before gradually mellowing out their sound. Their breakthrough album, "14:59", still had a few of the rowdier songs that recalled earlier Sugar Ray, but its sound was overall much more radio-friendly -- and as a result, provided the band with their biggest hit singles. But rather than maintaining the same formula for their next, self-titled release, they further softened their sound.

The listeners' response to this album was less enthusiastic than to "14:59", and critical reaction was mixed, but I personally love it and consider it their best. As hinted at by the album's cover photo -- a simple portrait of the band with their instruments, in a white-foreground/blue-background theme that might suggest they're perched upon a cloud in the sky -- this is a perfectly enjoyable pop-rock record: mostly laid-back, but it can rock when it wants to.

There's something on this album for everyone to enjoy: crunchy-guitar rock ("Sorry Now", "Answer The Phone"), a tender ballad ("When It's Over"), cool mid-tempo numbers ("Words To Me", "Ours"), and even a little reggae ("Stay On", featuring 311's Nick Hexum) and country ("Just a Little"). At the heart of these picture-perfect melodies is McGrath's less-than-perfect voice, and I mean that in a good way -- his face is so handsome that for the guy to also have a perfect voice would make him seem unreal. Here's my favorite track, the album closer -- one of the most delectable little nuggets of pure power-pop ever recorded. (Hand claps! Harmonized nonsense refrains! Yeah!)

Sugar Ray put out one studio album after this one ("In The Pursuit Of Leisure") which was not quite as good, and soon after that a greatest hits album. Word has it they're working on some new material, having been released from their contract with Atlantic Records. I sure can't wait ... McGrath's wasting his talents hosting a TV entertainment news show, if he's even still doing that anymore.

Killian Wells

KILLIAN WELLS
"HOT MESS"
(Inferno, 2007)


"Calm Before The Storm"


The story behind me finally getting my hands on this CD is kind-of funny (well, to me, at least). After looking for it, over the course of a month or so as time allowed, at every store in town -- from the independent record stores, to Wal-Mart and its smaller regional competitors, to the "big-box" places like Circuit City and Best Buy -- and even trying to special-order it from the neighborhood record store that I frequent (they didn't even see it listed in their distributor's online catalog), I started thinking that maybe the fact that it was so hard to find was fate's way of trying to tell me that I wouldn't like it. But, every time I went back online and listened to the sound clips, they were growing on me a little bit more ... so I finally gave into that nagging urge and ordered it from Amazon.

Well, assuming I was right in what fate was trying to tell me, it ended up being wrong. New Yorker Killian Wells has crafted an album that's a colorful mix of synth-pop and R&B, with dashes of hip-hop and soul. The '80s influences are the most apparent, but they're subtle enough that the album takes on a distinct 21st-Century feel, and Wells' agile and attractive voice is at the center of the album's appeal. The variety of songs keeps things interesting: a mid-tempo pseudo-love song that could have been sung by either Chris Brown or George Michael ("I Don't Wanna Fall In Love"); a pair of upbeat, syncopated poppers that I could see making minor splashes on radio ("Looking For a Way", "(If Only Life Could Be Like) Hollywood"); a smooth, spacey tune worthy of Savage Garden ("Calm Before The Storm"); and a tasty slice of turn-of-the-millennium Euro-pop that sounds like an outtake from an Adam Rickitt album ("One Night Stand").

As if Wells' musical talent weren't imressive enough -- he co-wrote every song on the album, with the exception of the '80s cover, "Your Love" -- he's quite the entrepreneur as well. He founded Inferno Records, the label on which the album is released and distributed ... and did I mention he even sells his own line of clothing and accessories? To have written, recorded, produced and released by himself (with help from a friend and colleague) an album that has major-label production values takes the kind of talent that will surely give Killian Wells a long career in music, whether he's in front of the mic or at the boards.

Idol Thoughts: Viewer Votes - Round 1

This week on "American Idol", the Top 24 contestants will be narrowed down to the Top 20. Performing in front of a "public" audience for the first time -- and, more importantly, now at the mercy of votes from the TV audience -- the Top 12 guys gave it their all on Tuesday, and the Top 12 girls strutted their stuff on Wednesday. As I said last week, this is an impressively talented crop of would-be pop stars, and I wouldn't be the least bit surprised if the voting is close ... with one or two exceptions, perhaps.

First up, the guys. My opinion is slightly skewed, but through no fault of my own: the local Fox affiliate screwed up and transmitted a black screen for about 15 minutes, so I missed the performances by Chikezie Eze and David Cook. The rest of what I saw, though, was mighty entertaining. David Hernandez kicked things off to a promising start with a rousing rendition of "In The Midnight Hour". Two of the competitors I hadn't really taken notice of before caught my attention this time: Robbie Carrico delivered a strong rendition of the Three Dog Night classic "One"; and Jason Castro stood out from the crowd by strumming his own guitar (the only contestant of the Top 24 to play his own instrument at this stage) to a thoroughly pleasant take on the Lovin' Spoonful song "Daydream".

But, as impressed as I was with some contestants, I was unexpectedly disappointed with others. Danny Noriega tried his best with the Elvis tune "Jailhouse Rock", but even though his pitch was fine he had problems keeping up with the tempo -- I'd have to agree with the judges' opinion that it just wasn't the right song for him. And for the first time, Michael Johns left me only lukewarm with his rendition of "Light My Fire" -- perhaps it was because I was expecting to be wowed by him as usual, or maybe it was because I had seen some excellent performances already that night, or it could have been the song itself that left me cold (goodness knows, I've heard plenty of people sing it).

Who I think ought to be eliminated: Luke Menard (I really can't remember his performance at all, and I paid attention to the entire show ... leaving so little of an impression on me doesn't bode well for a pop singer) and Garrett Haley (sure, he's kind-of cute -- reminds me of Canadian Idol Kalan Porter, actually -- but he too was just okay ... nothing outstanding about him). Danny really does deserve another chance, and I think he's too popular and likeable to be voted off so early.

Who I think will be eliminated: Colton Berry and Luke Menard.

Who I voted for: David Archuleta -- This will come as little or no surprise to those of you who read my "Idol" entry last week, but David really was truly the best performance amongst the guys, hands down ... or, to put it a different way, one or two of the other guys may have edged him out strictly on vocal talent, but he more than makes up for it with his charisma and cuteness. As Simon pointed out, David has "got it" ... that indescribable combination that makes for a real pop star.

My other favorites: Jason Castro and David Hernandez.

And now, on to the ladies. I'll admit (and I've mentioned at least once before in this blog) that I don't care for female vocalists nearly as much as male vocalists, but I must say I had more fun watching the ladies than I thought I would. Sure, the vast majority of the girls are the pop-diva type, and they do kind-of blur together after awhile, but when the raw talent is this good, I just can't get bored. Alaina Whitaker impressed me with her take on "More Today Than Yesterday"; Ramiele Malubay totally knocked my socks off with a gorgeous Dusty Springfield number; and Asia'h Epperson and Alexandrea Lushington both electrified me (and the crowd) with their confidence and energy.

Alas, there were missteps amongst the ladies as well. I think Amanda Overmyer was really good, but I couldn't tell for sure: her voice kept getting drowned out by the music, and it probably wasn't the best choice of song to begin with, since you really have to go with a tune that showcases the singer's voice. And then there's Amy Davis ... she appeared to let her nervousness get the best of her, and her song was littered with hesitant delivery and off-key notes. (If you looked closely, you could even see her lip quivering nervously as she was standing beside Ryan Seacrest after her performance.)

Who I think ought to be eliminated: Carly Smithson (I'm probably gonna get hated for this ... but I found myself in agreement with Simon in that there just wasn't anything really special about the performance -- it was very good, but not terribly unique) and Amy Davis (for her aforementioned tragic performance).

Who I think will be eliminated: Amy Davis and Kristy Lee Cook.

Who I voted for: Syesha Mercado -- Possibly taking a cue from Amanda, Syesha eschewed any syrupy or inspirational pop ballad and positively wowed me with a bluesy rocking rendition of "Tobacco Road". Much like David Archuleta, Syesha's a natural born pop star; if she doesn't go the distance, I'll be shocked and disappointed.

My other favorites: Alexandrea Lushington and Ramiele Malubay.

So, let's tune in tonight and see how accurate my predictions are...!

The Brian Setzer Orchestra

THE BRIAN SETZER ORCHESTRA
"WOLFGANG'S BIG NIGHT OUT"
(Surfdog, 2007)


"Honey Man" (an adaptation of Rimsky-Korsakov's "Flight Of The Bumblebee")


With his landmark '80s group, Stray Cats, Brian Setzer breathed new life and new popularity into the rockabilly sound of the '50s. When he moved on to form The Brian Setzer Orchestra in the '90s, he turned back the clock a couple more decades, taking on the swing and big-band music of the '30s and '40s, and meeting with just as much success (though in the latter case, more of that success came from other parts of the globe). Now, Setzer and his group have taken one of the boldest and oddest musical gambles in recent memory by stepping back more than a century further, and plugging their amps into some of the most renowned works of classical music.

Brian Setzer is probably the only musician who has the talent, the guts, and the refusal to take himself too seriously, to pull off an album like this. Without his sense of humor and playfulness, this effort could very easily have come across as bizarre and misguided. Just reading the back panel and imagining the fun he had retitling the songs made me want to buy it: a suite comprised of two traditional pieces used for weddings is rechristened "Here Comes The Broad", Mozart's "Eine Kleine Nachtmusik" ("A Little Night Music") is playfully retitled "Wolfgang's Big Night Out", and (here's my favorite joke from the track listing) Strauss' "Blue Danube" becomes "Some River In Europe".

Setzer and his Orchestra took care to arrange each tune to whatever degree was appropriate: Grieg's "Hall Of The Mountain King" has been turned into an actual song -- "One More Night With You" -- with all-new specially written lyrics (the only song, other than the one provided here, to have any lyrics at all), whereas Kachaturian's "Sabre Dance" was enough of a rocking tune in its original form that it has been left largely unaltered. I don't know if Setzer had any kind of ulterior motive in mind when he dreamed up this record (such as introducing classical music to a new generation), or if he just wanted to have some plain old fun. Indeed, he has so much fun loosening up that stuffy old classical music with his inimitable style, that the fun trickles all the way down to us listeners.

Natural

NATURAL
"IT'S ONLY NATURAL"
(BMG/Japan, 2004)


"Never"


One of the last groups to be discovered and guided by the now notorious boyband mogul Lou Pearlman, Natural was set apart from the rest of the boy-pop pack by the fact that they actually played their own instruments. Of course, one couldn't easily tell by their sound, which was admittedly rather similar to that of Backstreet Boys, NSYNC, and Pearlman's other creations, with the only difference being a layer of guitars added in. That being said, however, Natural had plenty of catchy tunes scattered throughout their two albums. If you like pop with guitars, go find 'em; they're worth it.

The quintet's first album, "Keep It Natural", released first in Germany and then in Japan and Southeast Asia, was deliberately given a shiny pop gloss, probably so as not to scare away fans of Pearlman's tried-and-true boyband formula. (It was apparently less tried-and-true than Pearlman had thought; plans for a U.S. release of the album were abandoned after a retail tie-in promotion for the band's first single fizzled.) When they returned two years later with their second (and ultimately final) album, they won the fight to infuse a more mature rock sound into the songs, nearly all of which were co-written by the band members themselves. This song is perhaps the most hard-hitting of them all ... I personally could see it covered by a variety of rock acts without losing them any shred of credibility.

It appears that most of the Natural members are now pursuing careers elsewhere in music, having long since cut their ties with the domineering Pearlman. Interestingly, Pearlman objected to band member Marc Terenzi's relationship with German singer Sarah Connor, with whom the band dueted in the song "Just One Last Dance" (which was included on the Japanese release of "It's Only Natural", and was a big hit for both acts); Terenzi and Connor are to this day married and have two children. Isn't it romantic when music brings two people together?

Idol Thoughts: The Top 24

Okay, you know how, at the very beginning of this blog, I mentioned that I have avoided (not necessarily on purpose) "American Idol" and its winning singers' CDs? Well, after missing out on the first six seasons of hope, heartache and anticipation, I've finally given into the temptation, and for the first time I've been watching it from the beginning of the season. I've been wanting to know if I'll feel the same excitement and/or heartbreak as my favorite performers either clear the next hurdle of eliminations or get drummed out of the competition, and also to see how eager I might be to buy the winner's and/or runner-up's debut album when it hits the stores. I've gotta say, watching "Idol" has been fun so far! How much fun? To give you an idea, I've never ever talked back to the people on my TV ... until this show.

So anyway, now that Simon, Paula and Randy have narrowed the field of competitors down to the Top 24, I thought I'd start sharing my thoughts weekly (or thereabouts). I have to say that, though I don't have a basis for comparison since this is the first season I've watched, there's a pretty impressive crop of talent vying for the title this year. Having seen the 150+ first-round picks whittled down to 50, I really have very few complaints about the judges' eliminations this week -- and I certainly don't envy them in the tough choices they had to make.

I lamented the oddly quiet exits of some of the more promising, higher-than-average-profile contestants: Colton Swon (the Ryan Cabrera lookalike from Oklahoma), Joseph Catalano (the guy who lost, what was it, 100 pounds?), Pia Easley (the punk-ish looking African-American girl with the knockout voice), and Drew Poppelreiter (the super-hunky, good ol' Mississippi farm boy).

I was most heartbroken, as I suspect many were, to see Josiah Leming get the boot, although I can't say I was terribly surprised after his tragic misstep in his second-chance Hollywood audition. It's probably a blessing in disguise that he tanked, when I think about it: he was letting the pressure get to him, and he hadn't even gotten past the Top 50 yet. The stress was only going to get more intense from then on, so unless he seriously pulled himself together, I don't see how he could have handled it. That's not to say he doesn't have talent; I cringed when he started in on Mika's "Grace Kelly", but was pleasantly surprised at how well he carried it -- that takes charisma. I fully expect to see his name pop up somewhere else very soon, and if he puts out a CD, I'll be buying it. Not to mention, he's just too darn sweet to disappear into oblivion. Hey -- word has it he's going to be on Ellen DeGeneres next week ... keep your peepers peeled!!

I found myself agreeing with Simon's vociferous opinion in the final men's elimination: I think Kyle Ensley should have gone on to the next round, and that Colton Berry should have been sent packing. Sure, Kyle is the geekier looking one (I can hear the question echoing from all corners of the country: "Do we really need another Clay Aiken?"), but I was much more impressed with his singing than I was with Colton's. I was pleased with their decision on the women's side: Joanne Borgella might have shown a bit less poise than her immediate competitor, but I feel like she has more promise. Besides, as Mika is fond of singing, big girls can be beautiful too.

My early favorites? Let's see ... there's something I like about Amanda Overmyer (the motorcycling respiratory nurse) -- a chick who can rock is a refreshing change from the endless parade of pop and soul divas -- although I do agree with Simon's comment that she needs to start varying her style; doing nothing but Janis Joplin-esque vocals will become monotonous quickly. Then there's Syesha Mercado ... I tell you, anyone who almost completely loses her voice but can still belt out a song as well as she did has undoubtedly got what it takes. And how can you not love the soaring voice that comes out of a girl as small and adorable as Ramiele Malubay?

As for the guys: I've really liked Michael Johns (the Aussie transplant) ever since he seriously impressed me with his handling of Queen's "Bohemian Rhapsody", a difficult song to pull off by any means. David Hernandez has got soul and style, and I think he's in it for the long haul. Danny Noriega could stand to tone down the theatrics just a bit, but he's got a good, solid voice and is certainly likeable. Then there's my personal favorite, David Archuleta ... that boy is the most adorable thing on the face of the planet, period! He's got the voice, the stage presence, the looks, and the personality, and I hope he goes all the way. Of course, we all know that he'll have record producers lining up for him even if he's eliminated next week (perish the thought) ... there's just no way he won't be a hit with the teen and tween girl audience.

So, I guess that about sums it up ... now, on to the next round! Oh, and by the way ... if I hear one more rendition of "Everything I Do (I Do It For You)", I think I might kick my TV screen in.

Ben's Brother

BEN'S BROTHER
"BETA MALE FAIRYTALES"
(Relentless, 2007)


"Let Me Out"


Everybody knows that Dentyne Ice commercial with that really fun song -- "Kiss me again, 'cause only you can stop the st-st-st-st-stutterin'..." -- but almost nobody knows who performs it, 'cause otherwise I think the band, Ben's Brother, would be a lot more popular than they are. They hail from the UK and have crafted a terrific album of lo-fi indie-rock, infused with such charm that I'm sure it would appeal to a wider range of people than the usual lo-fi indie-rock album. Case in point: me, who has tried and failed to glom onto bands like Arcade Fire or Death Cab For Cutie.

I should point out that "Kiss Me Again (Stuttering)" is unlike most of the rest of the songs on "Beta Male Fairytales". (Don't you just love that album title as much as I do?!?) The tune provided here is an excellent representation of what the rest of the album has in store. Lead singer Jamie Hartman (whose allegedly overachieving older brother, Ben, inspired the band's name) mostly delivers the lyrics in a heartfelt, tender rasp which, surprisingly, never irritates the ears. As usual, I declined to upload what I think is the best track of the album (in this case, the wonderful anthem "Carry On") ... you'll have to marvel at that one for yourself.

Randall Bramblett

RANDALL BRAMBLETT
"THIN PLACES"
(New West, 2004)


"You Can Be The Rain"


Randall Bramblett has been making music for over 30 years, having worked with artists such as Gregg Allman and Steve Winwood, and in many genres of music ranging from jazz to R&B to rock. His gravelly delivery and rustically poetic phrasing will compel some people to classify him as country upon first listen (as did I), but before too long it becomes clear that Bramblett is not an artist who can be pigeonholed quickly. This album's overall mood does lean a bit toard the "country-rock" or "roots-rock" category, but to my surprise I ended up liking it a lot more than most any other album from that sub-genre that I'd tried before.

The bluesy swagger of "Black Coat" and the lightly twangy shuffle of "Playing Card" should be enough to win over most open-minded listeners, but the absolute standout is the sweeping opus "Are You Satisfied", which is guaranteed to give you goosebumps. However, I don't want to spoil it for you; instead, I'll give you my second favorite from the album, which is an equally gorgeous ballad that conveys Bramblett's style quite well. This album has grown on me so much that I'm compelled to go looking for his other recent works which, according to reviews, are just as good.

No Authority

NO AUTHORITY
"NO AUTHORITY"
(Maverick, 2000)


"Don't Go"


No Authority were a four-member boyband whose brief career started promisingly by being signed to Michael Jackson's record label, MJJ Records. Their first album, which was filled with smooth, heavily R&B-influenced pop ala Boyz II Men, was a commercial disappointment, and the group disappeared for almost three years, during which time one member left and was replaced, and the band retooled their sound, coming back with a wider variety in their songs; their R&B ballads were still there, but alongside an assortment of more upbeat dance-pop tracks as well.

Sure, there are a good number of fun uptempo songs on the album, but for some reason I had to choose one of their "old-school No Authority" (for lack of a better term) ballads to upload, 'cause even though it's not my favorite type of boyband song, they did it well. I think it's the ascending, anticipatory piano motif that grabs me. The broadening of their sound didn't seem to help their careers any -- even though this album yielded perhaps their best-performing single, "Can I Get Your Number" -- nor did MJJ's hop from Sony imprint Work Records to Warner-owned Maverick. But then, the veritable saturation of boybands in the pop market at the time could just as easily be blamed for No Authority's getting lost in the crowd.

I've found a few tidbits on what the former members of No Authority have been doing since their 2001 breakup: Josh Keaton has been working as a voice actor in Hollywood as well as making music with brother-in-law James Lee Dallas (of the boyband Youngstown); Eric Stretch has made a name for himself on Broadway and elsewhere on the stage; and Tommy McCarthy has been working on a solo recording career.

The Getaway People

Well, I hope you enjoyed Early '90s Month on Thnairg's World of Music. I've decided, due to popular demand (well, okay, due to absolutely no demand, one way or another), to continue the format I had been using last month. In other words, I won't have any more "CD of the Week" or "Song of the Week" posts, but instead two posts each week (or maybe occasionally more than that) talking about a CD and also including a song upload. Enjoy...!

THE GETAWAY PEOPLE
"TURNPIKE DIARIES"
(Columbia, 2000)


"Good Life"


I've had this CD in my collection for several years, but I didn't realize until just recently that The Getaway People hailed from Norway. Now, that shouldn't really make a difference as to how much I like them, but strangely -- well, maybe not so strangely, considering my ongoing love affair with Erik Faber and Espen Lind -- it does. I was on the fence as to whether or not to put this disc into my trade-in stack in the latest (and still ongoing) thinning of my CD collection, and upon discovering their Norwegian heritage, I decided to keep it.

However, just because I mentioned Erik Faber and Espen Lind, don't assume that this is that same kind of laid-back, adult-contemporary stuff. The Getaway People lay on the funk, the drum loops and the scratching in no uncertain terms ... think of a cross between Beck and Sugar Ray. Perhaps The Getaway People's biggest claim to fame was in providing the title song to the short-lived "Dawson's Creek" spinoff, "Young Americans", in the summer of 2000. Both the original album version and the TV version of the song (whose lyrics were changed to remove a reference to cigarettes) are included on this CD.

I'd be curious to know how many of you Jesse McCartney fans will be surprised to find out that "The Good Life", included on his debut album "Beautiful Soul" as an unlisted bonus track, was originally recorded by The Getaway People four years earlier, and was even featured in an episode (and on the soundtrack album) of the Fox sitcom "Malcolm In The Middle". Not only is it a fun track, and responsible in a small way for endearing me a little more to Jesse McCartney's debut album, but it's perfectly representative of the sound of this one-of-a-kind band.