When 17-year-old front runner David Archuleta began to effortlessly honey out a Beatles classic in order to atone for what had been an unforgettable razing of "We Can Work It Out" the week before, pop culture fanatics everywhere -- or rather, the ones who could hear themselves think over the panting bevy of tween girls who screamed as though he were formerly part of the Fab Four -- no doubt noticed how uncannily his song choice reflected, once again, the predictable unpredictability of American Idol season seven.
It has indeed been a long and winding road. One with steep embankments, no stop signs and traffic lights that don't seem to go yellow.
We have learned much after two consecutive and somewhat dangerous weeks of listening to the supposed cream of the Western world's vocal crop alternately lionize and lay waste to 23 vintage melodies penned by those untouchable boys from Liverpool. First, if there's one surefire way of exposing hacks, it's forcing people to sing from "The White Album." Second, if a reality TV show wants an unprecedented up-for-grabs race for its top spot -- well, yeah, it should make people sing from "The White Album." And it should throw in a little "Let It Be" for drama's sake.
Idol's producers, judges and impish host have been insisting for months now that this is "the most talented season ever." And since everyone remaining has had two shots at the Lennon-McCartney songbook, and with the all-important Top 10 having just been finalized, now is as good a time as any to declare Idol power rankings with regard to the upper half of the finalists -- the phrase "upper half" here referring to popularity as much as to bankable talent.
Yesterday, I could have gone either way on these contestants -- but now it looks as though they're here to stay. Oh, I believe in these top five.
Carly Smithson
If you couldn't tell from her distinctive brogue and all those bar shots of her imprinting cloverleaves into beer foam, Smithson is from Ireland. And luckily for this failed songstress whose 2001 album "Ultimate High" sold an unfathomably paltry 400 copies, American Idol may be her pot of gold.
Smithson is what many consider Idol's response to last season's shallow talent pool -- her voice is controlled, polished and she consistently displays incredible pitch without relying too much on melisma. Since her rocky start, Smithson has risen to the front of the pack (the only female to do so) thanks to memorable renditions of Heart's "Crazy on You" and The Beatles' "Come Together." Her desperation to achieve success in the cutthroat music industry is painfully evident: Her voice cracked after performing The Beatles' "Blackbird" as she compared herself to a fallen nestling struggling to find the sky again.
David Archuleta
In the span of two months, this baby-faced Utah native of the velvety voice and aw-shucks stage presence has prompted puberty's onset in about half of America's preteen girls. Delirious shrieks follow any fleeting mention of his name. His face is front and center on the show's official web site. The now-legendary video of him mesmerizing Idol alumna Kelly Clarkson with a powerful rendition of Dreamgirls' "And I Am Telling You I'm Not Going" is well on its way to a million hits on YouTube. For weeks many have opined that the prodigious Archuleta, junior vocal champion of 2003's Star Search 2, could win it all. Committing himself to melodramatic ballads -- a niche that has seen the downfall of many an Idol contestant -- Archuleta cemented his role as legitimate contender in '70s Week with a sincere and minimalist take on John Lennon's "Imagine" that propelled the song to number 1 on iTunes in early March. Forgiving an aggravating inability to breathe silently while singing, Archuleta may be back in top form before the week's end.
David Cook
Sporting lifeless emo bangs, facial scruff and a permanent self-satisfied grin, David Cook is often more reminiscent of an angsty high-schooler than a future chart-topping musician. But despite his cocky rocker predilections, Cook is a force, possibly an unstoppable one. For five weeks he has given energetic and well-groomed performances (due in part to years of working with his critically heralded ex-band Axium), impressing many with his bold musical experimentation. Cook has managed to work over everything from The Turtles' happy-go-lucky "Happy Together" to The Beatles' elegiac "Eleanor Rigby" in show-stealing fashion with electric guitar, harmonica and even Frampton-esque vocoder. The risks have benefited him tenfold. As Cowell sagely remarked to him in the first go-round of Idol Beatlemania, "If this show remains a talent competition, rather than a popularity competition, you could win." Simon may be proven a prophet.
Michael Johns
A handsome Aussie soul-rocker recognizable for his powerfully strained vocals, Johns quickly established himself as a contender this season with his passionate and spine-tingling delivery of popular anthems by The Doors, Fleetwood Mac and Queen. Although the back-to-back excursions into Beatles territory hurt him more than they helped on account of unfocused arrangements and uncharacteristic vocals, Tuesday night Johns returned to form with an arena rock staple that prompted the judges to comment on his frontman charisma, undeniable "star potential" and at last fully displayed "big voice."
This season's oldest contestant, the 29-year-old former star athlete's consistent ability to choose mature songs that compliment his range foreshadows a likely spot in the Final Four.
Jason Castro
The less said about this man's rambling incoherency, his rat's-nest dreadlocks and all that acrid smoke last seen billowing from his psychedelic van, the better; the only thing that's clear is that it's his aloof charm, memorable hairstyle and waifish good looks that are keeping him in this competition, as opposed to his actual vocal prowess. In '60s week Castro, an acoustic guitarist saddled with a permanent falsetto, shined with a charismatic, stripped-down performance of The Lovin' Spoonful's "Daydream." His refreshing and imaginative arrangement carried him through what had been the most sincere Idol performance in seasons, in addition to being the first demonstration of the potential of season seven's brand-new gimmick that allows contestants to use instruments. Since then, however, Castro has used that ticket a few too many times, three times hiding uninspired vocals behind his own acoustic accompaniment. A heartfelt rendition of Leonard Cohen's timeless "Hallelujah" stands alone as his most memorable and least contrived of performances, despite its ending on a barely off-key squeak. As he lackadaisically quipped after Tuesday night's sloppy performance, "Yeah, I guess I could practice a little harder."
