This week's American Idol performances were a remarkably consistent bunch. Nobody did a bad job of covering Elton John, at least not from the perspective of what they were trying to accomplish.
Similarly, the studio recordings have a similarly high level of quality. In fact, I don't think any of them are worse than what we saw from the finalists Wednesday.
BETTER THAN THE SHOW

Haley Reinhart, Bennie and the Jets. Haley's cabaret-pop take on John's 1974 glam-fan tribute works even better here. If people who don't generally like Haley wonder why this performance seems to work so much better than her usual fare, it's because the song gives her an appropriate place for all her vocal idiosyncrasies: That woozy slide she likes so much works great on the verses, the melody lets her leap around to her heart's content, and that growl of hers sounds just perfect whenever she exclaims, "Bennie! Bennie!" Sure, she exaggerates the sibilant syllables and the stuttering "B-b-b-bennie" -- but since when is exaggeration in the name of Elton John considered a musical crime?
Paul McDonald, Rocket Man. I don't remember much about the instrumentation on Paul's performance Wednesday, but it's a big part of what makes this track work: a steady tap of drumsticks on hi-hat; a chiming sound that seems like part electric piano, part pedal steel; an eerie, spacious distortion that lurks, shadow-like, throughout the track. At one point, everything drops away, leaving only the echo of Paul's whispery rasp, floating weightless.
Similarly, the studio recordings have a similarly high level of quality. In fact, I don't think any of them are worse than what we saw from the finalists Wednesday.
BETTER THAN THE SHOW

Haley Reinhart, Bennie and the Jets. Haley's cabaret-pop take on John's 1974 glam-fan tribute works even better here. If people who don't generally like Haley wonder why this performance seems to work so much better than her usual fare, it's because the song gives her an appropriate place for all her vocal idiosyncrasies: That woozy slide she likes so much works great on the verses, the melody lets her leap around to her heart's content, and that growl of hers sounds just perfect whenever she exclaims, "Bennie! Bennie!" Sure, she exaggerates the sibilant syllables and the stuttering "B-b-b-bennie" -- but since when is exaggeration in the name of Elton John considered a musical crime?
Paul McDonald, Rocket Man. I don't remember much about the instrumentation on Paul's performance Wednesday, but it's a big part of what makes this track work: a steady tap of drumsticks on hi-hat; a chiming sound that seems like part electric piano, part pedal steel; an eerie, spacious distortion that lurks, shadow-like, throughout the track. At one point, everything drops away, leaving only the echo of Paul's whispery rasp, floating weightless.
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