Song: Wonderwall
Tuesday, June 14th, 2005 by Paul Irishpop-rock -> somber indie -> big-band swing
The most satisfying covers are those that transform the song into a completely new setting. Today, you’re getting two unique covers of the Oasis classic ‘Wonderwall’, easily my favorite track from the Gallagher brothers. Ryan Adams (who’s coming out with two more albums this year) presents a slow but deliberate guitar and reverbed vocal track. From the subtle voice crack to fingertip-string treble to his emotional howling, Ryan’s cover emotes a clear and true representation of the song’s meaning. On the complete and opposite side of things, Paul Anka’s take, from Rock Swings, is a glitzy big-band version with spot-on vocals and instrumentation. The arrangements are well done – not sleazy covers like Richard Cheese.One version subdued and sincere. The other bright and boiling.
The starry-eyed look of love. The romantic dance under the lantern-lit tree. The music swells and supports that perfect moment, amalgamating the texture of her dress, her soft fingers curling around your nape, her breath combing down your cheek. Mint Royale, a duo that was once mistook as a pseudonym for Norman Cook, traditionally leans on the more brash party big beat sound, but in “Little Words” they deliver a soulful ballad of calming intent. It fits the perfect soundtrack moment where two strangers fall for each other, dance in the warm summer air, and land in a place of congruent love. 
Interstellar are a Toronto duo, much like the classic team of The Skydome and The CN Tower (only less architectural). Their music is an odd blend of synths, vaguely manipulated vocals, and a soft, acoustic sensibility―guitars, crickety cymbals, and well-rounded chords. I got hold of a promo of theirs about a year ago when their last album was released, because Sean from 
In elementary school, you like girls. In middle school, it’s cute girls. In high school, it’s cute girls in the same classes as you. By now, you have an (un)determined set of specific criteria by which you select potential mates. Your personal maturity and development has made romantic compatibility into an elusive and challenging goal. Now personally, this song feels like it finds the nooks and crannies of my musical compatibility and fills them to fulfillment. Nothing exceptional stands out audibly, but it gives me the exact sonic mood that I need — in this case, complex beauty.
Brit Tom McRae has a way with music. Critics lauded his 2001 self-titled release and it earned him a Mercury prize nomination. Many suggest comparisions to Nick Drake and early Dylan aren’t such a stretch. It’s his warm and homey while intimately gloomy mood that creates such a stir. His blisteringly bare vocals create a vocal line that slowly wraps around you like a smile. His quiet guitar strumming provides the pillow for your wondering head to crash down on.
This song isn’t about Faultline. It’s not about how as a child he blew out his left lung while playing clarinet in orchestra. No. What distinguishes this song from the rest of the tracks on Faultline’s recently re-released album is the melancholy voice of Coldplay’s Chris Martin. It’s bare, fragile, and leaking wistful emotion at the sides. This should have been the hidden track on Rush of Blood to the Head.
We all have our favorite untitled track from Sigur Rós’s epic 2002 record ( ). We have no idea what those words are, but they’re so entirely soothing; the emotion wrought out by that voice matches the soft, glowing and powerful ethereal sounds of the band. “Ba Ba” was part of an experiment called 
How many dazzling songs do you know that feature a harpsichord? “Golden Brown” throws one right at you and carries it in a waltzing 3/4 time signature. Well known from the 
I don’t know what can convey how simple and lovely this song is better than the lyrics, so: My, my you’re just like pie, when I call you on the phone. You say hello and that’s the crust, the filling is yet to come. My, my you’re just like eggs. You’re all slimy on the outside and yolky in the middle. Wait a second… that’s not right; what I really meant is that I love you in the morning. Oh, I love you in the morning.
I just gotta throw some love on my Boston boys.