First, a recap.
Simon Fuller launched Pop Idol. It became popular. The US spin-off shortly followed. After various legal shenanigans, Simon Fuller ended up in charge of the X Factor in the UK, which was otherwise the same fundamental idea: get a whole bunch of hopefuls to try and win the ultimate prize of being the best singer in the land - and promptly record a single or two, managed by Simon Fuller, and earn them a boatload of cash.
The winner of season 1 (2002) of American Idol, Kelly Clarkson, recorded a single “A moment like this” that shot to the top of the US charts. When Leona Lewis won X Factor in 2006, Simon Fuller dusted off the cobwebs and had her sing the exact same song, complete with back-to-front empty theatre.
Now I learn that Hallelujah is the Christmas number one. Except that it’s the latest X Factor winner’s cover version. (Does that style of video promo look familiar?) The Truck driver’s gear shift appears traditional, it appears, and as soon as that happens, the lip service to the original ends and it all goes fantastically gospel and big hair etc.
Now, the late Jeff Buckley’s record company decided to re-issue his cover of the Leonard Cohen song, and I almost wish it hadn’t gone anywhere - then, at least, we could have been reassured that there’s a limit to musical ignorance and record company cynicism.
Unfortunately, the Jeff Buckley single did well. Just not well enough. It came second.
Please listen to the Jeff Buckley cover again, which Alexandra Burke’s version is crudely based upon. Listen in particular to the beautiful sparseness and elegance of the guitar (which is Buckley’s only accompaniment, albeit boosted by an echo / reverb effect), and the scratchiness, hesitation, artistry in the singing, which come together to produce an interpretation that is timeless, and, I would argue, folk - not gospel or pop. You could replace the guitar with piano or banjo or cello or whatever, and as long as you kept the expression - of vocals and instrument alike - you’d have the same effect. (I think you should keep the occasional delicate forays into the high octaves, though.) Starting with session musician’s guitar and then dumping it for strings and choirs and over-production once you’ve got to the key change and the interesting part has now started, is not quite the same.
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