From Wikipedia, the free encyclopedia
Glee is an American musical comedy-drama television series produced by Fox. It focuses on the glee club New Directions, at the fictional William McKinley High School in Lima, Ohio.[1] The show was created by Ryan Murphy, Brad Falchuk and Ian Brennan. It features cover versions of songs sung on-screen by the characters, and includes five to eight production numbers per episode.[2] Musical segments typically take the form of performances, as opposed to the characters singing spontaneously, as the intention is for the series to remain reality-based.[3] Murphy is responsible for selecting all of the songs used, and strives to maintain a balance between show tunes and chart hits, as he wants there to be "something for everybody in every episode."[4]
Song choices are integral to script development, with Murphy explaining: "Each episode has a theme at its core. After I write the script, I will choose songs that help to move the story along."[5] Once Murphy selects a song, rights are cleared with its publishers by music supervisor P.J. Bloom, and music producer Adam Anders rearranges it for the Glee cast.[6] Numbers are pre-recorded by the cast, while choreographer Zach Woodlee constructs the accompanying dance moves, which are then taught to the cast and filmed.[4] Studio recordings of tracks are then made. The process begins six to eight weeks before each episode is filmed, and can end as late as the day before filming begins.[6]
Murphy was surprised at the ease with which use of songs was approved by the record labels approached, and explained: "I think the key to it is they loved the tone of it. They loved that this show was about optimism and young kids, for the most part, reinterpreting their classics for a new audience."[3] Composer and musician Billy Joel offered many of his songs for use on the show,[7] singer Rihanna offered her single "Take a Bow" for use at a reduced licensing rate, and other artists have offered use of their songs for free.[8] Madonna granted the show rights to her entire catalogue, and a 2010 episode will feature Madonna performances exclusively.[9] Murphy has also planned an episode utilizing original music, to air in spring 2010, with two ballads written for the show by Diane Warren.[6]
There will be a series of Glee albums released through Columbia Records. The first, Glee: The Music, Volume 1, was released on November 3, 2009.[10] Songs featured on the show are available for digital download through iTunes up to two weeks before new episodes air, and through other digital outlets and mobile carriers a week later.[6] The score of the show features a cappella covers of instrumental songs, provided in the pilot episode by The Swingle Singers.[11]
Season 1
Pilot
USA Today's Robert Bianco commented positively on the "exuberance of the musical numbers" in the pilot episode.[18] David Hinckley of the Daily News wrote that the episode demonstrated "a reasonably deft touch with music", calling the "You're the One That I Want" performance "a little obvious" but commenting that "setting a group dance routine to Amy Winehouse's "Rehab" shows some inspiration."[16] The Chicago Tribune's Maureen Ryan deemed the performances of "Don't Stop Believin'" and "Rehab" "tremendously entertaining",[19] while Mary McNamara for the Los Angeles Times opined that: "The music, though by no means edgy, is energetic with a wide audience appeal, like the show itself."[20]
Showmance
The performance of "Gold Digger" in "Showmance" attracted praise from critics, with Shawna Malcom of the Los Angeles Times calling it "joyous and infectious".[29] Dave Itzkoff for The New York Times suggested that it was an inappropriate song choice for a high school glee club, but that despite the "ridiculously bowlderized" lyrics, the show "made it work".[30] Robert Bianco of USA Today described Michele's performance of "Take a Bow" as a "soaring moment" of the episode,[31] a sentiment echoed by Raymund Flandez of the The Wall Street Journal, who wrote: "It can take anyone’s breath away."[32]
Acafellas
"Acafellas" was poorly received by Mike Hale of the New York Times for its lack of production numbers,[37] while Rachel Ray, reviewing the episode for The Independent, similarly commented that viewers did not get a "satisfying taste of the cast members' musical talents."[38] Raymund Flandez of The Wall Street Journal praised Riley's rendition of "Bust Your Windows" as "showstopping", Vocal Adrenaline's "Mercy" as "leg-splits-over-shoulders exciting", and deemed the Acafellas performance of "I Wanna Sex You Up" "corny" but noted: "this is about high school. Corny is de rigueur."[39] Shawna Malcom for the Los Angeles Times felt that "Bust Your Windows" was "over the top" but that "the emotion behind the whole thing felt appropriately real."[40]
Preggers
The dance performance of "Single Ladies" in "Preggers" was well-received by critics. It was praised by Shawna Malcom of the Los Angeles Times,[42] and called "a memorable TV moment" by Eric Goldman of IGN.[43] Tim Stack for Entertainment Weekly called it "completely ridiculous" but commented that it "still managed to make [him] smile", however criticized the episode for its lack of "big singing moments".[44]
The Rhodes Not Taken
Reviewing "The Rhodes Not Taken", Raymund Flandez for The Wall Street Journal called the sing-off between April and Rachel on "Maybe This Time" "stunning" and "a high-point of the night", writing: "It was like watching magic happen before your eyes."[48] Mike Hale of the New York Times felt that Michele's vocals on "Maybe This Time" could not compete with Chenoweth's.[49] He opined that "The Rhodes Not Taken" was "the best episode musically since the pilot", calling the performance of "Somebody to Love" "truly rousing".[49] Flandez deemed the performance of "Somebody to Love" the show's best number since "Don't Stop Believin'" debuted in the pilot episode,[48] while the Los Angeles Times's Denise Martin called the performance "magical", similarly commenting that: "it's the first time since "Don't Stop Believing" that I got goosebumps."[50]
Vitamin D
Critics reviewing "Vitamin D" were divided over which group gave the better performance. Shawna Malcom of the Los Angeles Times preferred the boys' mash-up, writing that it had "the same heart-soaring power" as "Don't Stop Believin'", performed in the pilot episode.[54] Aly Semigran of MTV also enjoyed the boys' performance more than the girls', however felt that the episode "didn't have nearly enough singing".[55] Mandi Bierly for Entertainment Weekly similarly noted that that musical numbers in the episode: "though enjoyable, were almost an afterthought", however in contrast favored the girls' performance.[56]
Throwdown
Raymund Flandez of
The Wall Street Journal deemed Agron's cover of "You Keep Me Hangin' On" to be "thin and jarring".
Musical performances in "Throwdown" received mixed reviews from critics. Raymund Flandez for The Wall Street Journal felt that "Hate on Me" suffered from a lack of chemistry, and that Finn could not match Rachel's singing talent in "No Air", though still described the duet as "glorious".[58] He deemed the cover of "Keep Holding On" an "emotionally satisfying showstopper", however was critical of the episode's remaining two performances, calling Quinn's cover of "You Keep Me Hangin On" "thin and jarring".[58] Wendy Mitchell for Entertainment Weekly also enjoyed the "No Air" duet, however felt it would be nice to see characters besides Finn and Rachel take the lead on the majority of songs.[59] Mitchell observed that the "sweetness" of Quinn's voice was "a good foil" to the R&B numbers in the episode, and deemed "Keep Holding On": "a real showstopper reminding us that this group is best together."[59] Reviewing musical performances in the series so far on October 21, 2009, Denise Martin for the Los Angeles Times rated "Hate On Me" the fourth best performance to date, writing that Amber Riley: "blew [her] away."[60]
Mash-Up
Morrison's "Bust A Move" was criticized by
Entertainment Weekly's Michael Slezak as a "pale imitation" of the original.
Monteith's vocals in "Mash-Up" received negative reviews from critics. Raymund Flandez of The Wall Street Journal observed: "While Finn's voice is light and a bit scratchy, Puck's is earthly, sensual and full."[65] Joal Ryan for E! criticized the show's "overproduced soundtrack", writing that Monteith was being edited to sound like Cher, and that when Morrison sang "The Thong Song" and "Bust a Move", "he sounded like he was in a music video, not a suburban high school."[66] He enjoyed Michele's "What a Girl Wants", however, calling her singing "raw and lovely".[66] Entertainment Weekly writer Michael Slezak criticized the "Bust A Move" performance, writing that Morrison gave a "pale imitation" of the Young M.C. original.[67] He was slightly more positive regarding the "Thong Song" performance, feeling that Morrison had "a slightly less overwrought vocal than Sisqó's",[67] and observed that Salling did "more than a serviceable job" on "Sweet Caroline".[67]
Wheels
Although "Defying Gravity" was selected specifically for Colfer, Raymund Flandez of
The Wall Street Journal preferred Michele's version of the song, comparing her to the original singer,
Idina Menzel.
Murphy selected "Defying Gravity" for performance in "Wheels" after Colfer relayed a story from his own high school days, whereby his drama teacher refused to let him sing the song because of his gender.[70] Tim Stack for Entertainment Weekly deemed the performance "dynamic",[71] while Raymund Flandez of The Wall Street Journal opined: "Kurt delivers a mellifluous and pleasant rendition, but thin in the upper register. He tried and reached but blew it. While Rachel, with her Idina Menzel cheekbones and full lips, gives us the goods: the anticipation of that soaring F, and the golden finish that leaves us wanting for more."[72]
Glee choreographer Zach Woodlee described "Proud Mary" as the "scariest" number produced to date, citing concerns with choreographing an entire routine in wheelchairs and problems building the correct staging. Woodlee explained the stage ramps were initially built too steeply, preventing the actors from ascending them in wheelchairs, and that the actors experienced problems learning to distribute their weight correctly, flipping the wheelchairs over backwards.[73] Murphy specified to Woodlee that cast members should not be able to leave their wheelchairs during the number, as: "Artie doesn’t get to get up ever, so I didn’t want anyone to get up."[4] Woodlee agreed: "If it looked too fun and easy, it wouldn’t read right. Ryan really wanted people to understand what Artie deals with."[4]
Ballad
Dan Snierson for Entertainment Weekly deemed Finn's performance of "I'll Stand By You" in "Ballad" "middling".[77] James Poniewozik of Time called watching Finn serenade Quinn at her parents' dinner table an "uncomfortable experience", highlighting the scene as a problem in Glee's presenting itself as a realistic musical: "to have characters burst into song in a conventional musical as a narrative device is one thing, but if we have to accept that each character is actually singing in the moment, in real life, then those around them have to react realistically—which made this scene very, very weird."[78] Poniewozik wrote that the duet of "Endless Love" between Rachel and Will was "gaspingly funny", however he felt that the "Young Girl" / "Don't Stand So Close to Me" mash-up was "over-literal and just painful to watch".[78] He also opined that the performance of "Lean on Me" was too similar to "Keep Holding On", performed in the episode "Throwdown", to be effective.[78]
Hairography
Guest-star
Eve did not sing in the episode, but would like to do so if she returns to
Glee in the future.
[82]
The scene in "Hairography" which saw New Directions join the Haverbrook Deaf Choir to perform "Imagine" received mixed reviews from critics. Mike Hale of the New York Times wrote that "Imagine": "was shaping up to be the best thing in the episode", but New Directions' participation "torpedoed the moment."[83] Raymund Flandez of The Wall Street Journal also wished New Directions had not interrupted Haverbrook's "flowing rendition",[84] while Liz Pardue of Zap2it found the McKinley glee club's "butting in" to be "a little insulting", observing: "Good intentions, but cringe-y outcome."[85] In contrast, Bobby Hankinson of the Houston Chronicle called "Imagine" his musical highlight of the episode, deeming the performance "perfect" and writing: "Watching New Directions get inspired by the deaf performers just seemed so authentic and their admiration was contagious."[86] Aly Semigran of MTV called it her favorite musical moment from the show, and felt that it: "honored the classic song in such a respectful way."[87]
Mattress
Songs featured in "Mattress" received generally positive reviews, though Liz Pardue of Zap2it felt there were too few songs performed,[91] and Raymund Flandez of the Wall Street Journal deemed the performance of "Jump" "the only memorable song of the episode".[92] Aly Semigran for MTV commented that while Lily Allen's "Smile" "wasn't exactly fitting for the moment", she "couldn’t have been more excited to hear the tune get the Glee treatment."[93] She deemed "Jump" both "delightful" and the "giddiest musical number on the show to date".[93] Entertainment Weekly's Dan Snierson wrote that Rachel's cover of Lily Allen's "Smile" was "comely if conventional" and deemed the group performance of "Jump" a "frothy triumph", commending Mercedes for "rock[ing] out the high notes at the end".[90] Of the Charlie Chaplin version of "Smile", Snierson wrote that it was a "deeper, bittersweet musical moment" performed "gracefully" by Rachel and Mercedes.[90]
Sectionals
Musical performances in "Sectionals" all attracted praise. Aly Semigran of MTV called Riley's rendition of "And I Am Telling You I'm Not Going" "goose bump-inducing" and comparable to the Jennifer Hudson version,[95] while Liz Pardue of Zap2it called the song "predictably fantastic, especially in that it actually sounded like her singing — they smartly dialed down the postproduction a bit."[96] In contrast, James Poniewozik of Time wrote that it was the one song choice he didn't like, feeling that it is overused, thus diminishing its impact.[97] Eric Goldman of IGN similarly opined: "Having the incredibly talented, heavyset black girl who's feeling marginalized sing "And I Am Telling You I'm Not Going" might have been a bit on the nose for anyone who's seen Dreamgirls," but commended: "Riley absolutely killed it as Mercedes belted out that song."[98] Flandez praised Rachel's performance of "Don't Rain on My Parade", recommending: "Watch it again if you ever want to take back three minutes of your life that you’ve wasted on something else."[99] Pardue called the group performance of "You Can't Always Get What You Want" "energetic [...] casual [...] and very Glee", but felt it "would have been nice" to feature different singers.[96] Dan Snierson for Entertainment Weekly similarly noted that he would have preferred "more vocal interplay between all group members".[100]
Hello
The Power of Madonna
Future songs
References
- a.^ Included on the album Glee: The Music, Volume 1.
- b.^ Included as a bonus track on the album Glee: The Music, Volume 1.
- c.^ Instrumental performance only.
- d.^ Dance performance only.
- e.^ Included on the album Glee: The Music, Volume 2.
- f.^ Studio recording produced.
- g.^ Included on the album Glee: The Music - The Power Of Madonna.
- h.^ Original song commissioned specifically for Glee.
- ^ Kelly, Mike (May 17, 2009). "'Glee' series set in a Lima high school has Toledo connection too". The Blade. The Toledo Times. http://www.toledoblade.com/apps/pbcs.dll/article?AID=/20090517/ART18/905169951. Retrieved May 19, 2009.
- ^ Keveney, Bill (May 18, 2009). "After 'Idol' there's 'Glee,' a comedy with cool music". USA Today. Gannett Company. http://www.usatoday.com/life/television/news/2009-05-18-glee_N.htm. Retrieved June 1, 2009.
- ^ a b Kinon, Cristina (May 18, 2009). "'Glee' puts edgy spin on Top 40 tunes". The Daily News. http://www.nydailynews.com/entertainment/tv/2009/05/18/2009-05-18_glee_puts_edgy_spin_on_top_40_tunes.html. Retrieved May 31, 2009.
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