WEBVTT 00:00:10.990 --> 00:00:13.869 Welcome to My Weekly Mixtape, a podcast that 00:00:13.869 --> 00:00:16.969 takes the classic mixtape approach to building 00:00:16.969 --> 00:00:19.750 a modern playlist. I'm your host, Brian Colburn. 00:00:19.850 --> 00:00:22.870 I'm flying solo once again, bringing you another 00:00:22.870 --> 00:00:27.149 bonus episode of Under the Cover, with this episode's 00:00:27.149 --> 00:00:30.250 focus timing in with the conclusion of Taylor 00:00:30.250 --> 00:00:34.289 Swift's massive Errors Tour. And while I'm personally 00:00:34.289 --> 00:00:37.810 not the biggest Swifty on the planet, I've always 00:00:37.810 --> 00:00:40.460 respected her as an artist and... actually have 00:00:40.460 --> 00:00:43.979 enjoyed many of her country offerings prior to 00:00:43.979 --> 00:00:46.740 my two daughters latching onto her pop music 00:00:46.740 --> 00:00:50.200 and becoming huge fans of hers, which at the 00:00:50.200 --> 00:00:53.479 end of the day made me a bigger fan of her music 00:00:53.479 --> 00:00:56.899 because I went from just enjoying her songs at 00:00:56.899 --> 00:01:00.020 a personal level to now having an even bigger 00:01:00.020 --> 00:01:03.659 love and admiration for her songs. Coming from 00:01:03.659 --> 00:01:06.359 the place of a parent, seeing their kids fall 00:01:06.359 --> 00:01:09.079 in love with an artist, and the joy that they 00:01:09.079 --> 00:01:11.500 exude when they sing along with those songs. 00:01:11.680 --> 00:01:16.200 And yes, there were many, many, many listens. 00:01:16.980 --> 00:01:19.540 So the song that I chose to dive into tonight 00:01:19.540 --> 00:01:22.560 is a Taylor Swift song that I've personally become 00:01:22.560 --> 00:01:25.840 a fan of, one because of my girls, and even more 00:01:25.840 --> 00:01:30.209 so because I'm actually a fan of the song. And 00:01:30.209 --> 00:01:34.010 I've become a bigger fan of the covers that I'm 00:01:34.010 --> 00:01:36.709 going to share with you this evening. And I'm 00:01:36.709 --> 00:01:38.689 not going to say that the covers are better than 00:01:38.689 --> 00:01:41.650 the original or not. But in this instance, I 00:01:41.650 --> 00:01:45.090 will say that there are a few that make an extremely 00:01:45.090 --> 00:01:48.689 compelling argument for a neck and neck fistfight 00:01:48.689 --> 00:01:52.430 over which one reigns supreme. Though I'll respect 00:01:52.430 --> 00:01:54.930 the hardcore Swifties that are listening to this 00:01:54.930 --> 00:01:58.489 that are probably appalled at that mere suggestion. 00:01:59.290 --> 00:02:02.569 However, I hope anybody listening will give all 00:02:02.569 --> 00:02:05.150 of these versions a listen to see maybe where 00:02:05.150 --> 00:02:07.230 I'm coming from, because at the end of the day, 00:02:07.409 --> 00:02:10.949 a well -written song is a well -written song, 00:02:11.110 --> 00:02:14.150 and it can be interpreted and reinterpreted in 00:02:14.150 --> 00:02:18.889 many different ways and still hit the mark. And 00:02:18.889 --> 00:02:22.710 Cruel Summer from Taylor's 2019 album Lover is 00:02:22.710 --> 00:02:25.939 definitely one of those songs. This track was 00:02:25.939 --> 00:02:28.840 written by Swift along with Jack Antonoff and 00:02:28.840 --> 00:02:33.139 St. Vincent and features a mix of synth pop and 00:02:33.139 --> 00:02:37.539 electropop with the slightest hint of 80s pop, 00:02:37.719 --> 00:02:40.199 which might be one of the reasons I was drawn 00:02:40.199 --> 00:02:44.300 to the original anyway. There's no denying the 00:02:44.300 --> 00:02:47.419 catchiness of this track, and I would say that 00:02:47.419 --> 00:02:51.139 upon the dozens of times I've heard pretty much 00:02:51.139 --> 00:02:54.509 all of Taylor's albums, This was the one song 00:02:54.509 --> 00:02:56.650 that I always looked forward to listening to 00:02:56.650 --> 00:02:59.710 all the way through when it came on. So as I 00:02:59.710 --> 00:03:03.349 did with my episode focusing on seven covers 00:03:03.349 --> 00:03:06.449 of Tom Petty and the Heartbreakers Refugee, instead 00:03:06.449 --> 00:03:09.370 of creating a mixtape, I'm going to use this 00:03:09.370 --> 00:03:12.250 episode to dive into and hopefully introduce 00:03:12.250 --> 00:03:15.289 you to some cover songs you may or may not already 00:03:15.289 --> 00:03:18.520 be familiar with. If you visit the episode page 00:03:18.520 --> 00:03:21.740 at myweeklymixtape .com, I'm also going to post 00:03:21.740 --> 00:03:23.740 the videos for each of these songs I'm talking 00:03:23.740 --> 00:03:26.300 about tonight, because in a lot of instances, 00:03:26.479 --> 00:03:29.280 these songs just aren't available on streaming, 00:03:29.460 --> 00:03:33.020 or they're from deluxe editions, live performances, 00:03:33.280 --> 00:03:36.500 or just the label nonsense keeping them off the 00:03:36.500 --> 00:03:39.620 streaming platforms. However, some of these versions 00:03:39.620 --> 00:03:41.900 are actually available to purchase digitally 00:03:41.900 --> 00:03:47.169 on sites like Qobuz, which is Q O B U Z .com. 00:03:47.289 --> 00:03:50.930 If you want to own a copy, CoBuzz also has a 00:03:50.930 --> 00:03:53.750 high resolution streaming package. If you're 00:03:53.750 --> 00:03:56.469 looking for an alternative to Spotify or Apple 00:03:56.469 --> 00:04:00.430 music, I basically use them all the time when 00:04:00.430 --> 00:04:03.689 buying a CD is not available. Cause you know 00:04:03.689 --> 00:04:07.560 me, I love buying my CDs and Not all artists 00:04:07.560 --> 00:04:10.780 are releasing music via CDs nowadays, so I have 00:04:10.780 --> 00:04:13.960 to turn to the digital versions, and Qobuz offers 00:04:13.960 --> 00:04:17.819 a way to get them in either CD quality or high 00:04:17.819 --> 00:04:21.079 -resolution audio, which I don't personally use, 00:04:21.180 --> 00:04:24.259 but for those of you that are audiophiles, right 00:04:24.259 --> 00:04:27.259 up your alley. Now, before we get into the covers, 00:04:27.339 --> 00:04:29.480 if you like what you're hearing on my weekly 00:04:29.480 --> 00:04:32.420 mixtape between episodes like this or the regular 00:04:32.420 --> 00:04:35.660 mixtape curation episodes, or my interviews, 00:04:35.819 --> 00:04:38.139 you can help me out by either telling a friend 00:04:38.139 --> 00:04:40.779 about the show, leaving the show a five -star 00:04:40.779 --> 00:04:43.339 review wherever you're tuning in, or becoming 00:04:43.339 --> 00:04:47.139 a Patreon mixtaper at patreon .com forward slash 00:04:47.139 --> 00:04:50.879 myweeklymixtape. There you can enjoy ad -free 00:04:50.879 --> 00:04:54.259 episodes of the show, gain early access to upcoming 00:04:54.259 --> 00:04:57.199 episodes, hear bonus episodes like this one, 00:04:57.319 --> 00:05:00.399 chime in on future topics, become a guest curator. 00:05:00.949 --> 00:05:03.769 and so much more. Once again, that's patreon 00:05:03.769 --> 00:05:08.470 .com forward slash My Weekly Mixtape. All right, 00:05:08.490 --> 00:05:12.129 let's get into Cruel Summer, version one. First 00:05:12.129 --> 00:05:15.170 off, we're going to go heavy here. I wanted to 00:05:15.170 --> 00:05:18.170 start with a version of Cruel Summer that's pretty 00:05:18.170 --> 00:05:22.029 far removed from the original, so that way we 00:05:22.029 --> 00:05:25.110 rip the band -aid off for any of the Swifties 00:05:25.110 --> 00:05:29.550 listening. This is a pretty friggin' heavy, gender 00:05:29.550 --> 00:05:32.550 -flipped version of Cruel Summer from the band 00:05:32.550 --> 00:05:36.870 Versus Me. Now, it keeps the pacing of the original, 00:05:36.910 --> 00:05:39.810 but the electropop sound is completely stripped 00:05:39.810 --> 00:05:43.230 away, and instead it's replaced with this chunky, 00:05:43.430 --> 00:05:47.110 chugging guitar riff and a cross between a new 00:05:47.110 --> 00:05:51.449 metal and hard rock slash metal delivery. The 00:05:51.449 --> 00:05:54.410 verses almost bring like an emo punk vocal style 00:05:54.410 --> 00:05:57.920 to the song. And the chorus might be familiar 00:05:57.920 --> 00:06:00.480 to some fans of the original because it's really 00:06:00.480 --> 00:06:03.620 a heavy rock version where the melody is still 00:06:03.620 --> 00:06:07.579 pretty much present and recognizable. However, 00:06:07.860 --> 00:06:10.540 the bridge of the song, I'm drunk in the back 00:06:10.540 --> 00:06:12.720 of the car and I cried like a baby coming home 00:06:12.720 --> 00:06:16.839 from the bar. Instead of being sung in this version, 00:06:17.019 --> 00:06:21.240 it's spoken in a deep, breathy voice to build 00:06:21.240 --> 00:06:25.949 to a. crunchy, heavy breakdown that leads to 00:06:25.949 --> 00:06:28.810 the second half of the bridge, the, and I snuck 00:06:28.810 --> 00:06:31.329 through the garden gate, that entire segment 00:06:31.329 --> 00:06:35.970 is screamo over a massive riff. However, they 00:06:35.970 --> 00:06:38.310 do bring back the clean vocals for the final 00:06:38.310 --> 00:06:40.910 chorus, but at the close of the song, you're 00:06:40.910 --> 00:06:44.089 getting a Lamb of God -esque with you growl to 00:06:44.089 --> 00:06:47.050 close out the track. So for the heavy rock fans 00:06:47.050 --> 00:06:49.689 that listen to this show, this is definitely 00:06:49.689 --> 00:06:53.019 your version. Following that up, I'm not going 00:06:53.019 --> 00:06:56.139 to go too far removed from Versus Me. I'm going 00:06:56.139 --> 00:06:58.579 to stay in a similar vein musically, but we're 00:06:58.579 --> 00:07:01.759 going to dial back the heft a little bit. And 00:07:01.759 --> 00:07:04.720 we're also going to bring the gender flip back 00:07:04.720 --> 00:07:07.720 at least to the halfway point as this song starts 00:07:07.720 --> 00:07:10.939 off similar to Versus Me because at its core, 00:07:10.980 --> 00:07:14.019 it is a heavier version than the original. But 00:07:14.019 --> 00:07:16.519 the first verse is female fronted and it keeps 00:07:16.519 --> 00:07:19.300 the groove of the original all the way through 00:07:19.300 --> 00:07:22.790 the first chorus. The second verse gender flips 00:07:22.790 --> 00:07:26.310 the song again, but takes the second verse to 00:07:26.310 --> 00:07:30.290 a double time pacing with male vocals. This adds 00:07:30.290 --> 00:07:33.970 this hard rock meets punk spirit, but it's not 00:07:33.970 --> 00:07:36.910 quite pop punk per se. I'd say we got like this 00:07:36.910 --> 00:07:40.949 emo vibe punk thing going on. Be warned, the 00:07:40.949 --> 00:07:43.310 second half of this verse does introduce more 00:07:43.310 --> 00:07:46.199 screamo elements, which... Personally, I dug 00:07:46.199 --> 00:07:49.980 in this version, but I can assume that the purists 00:07:49.980 --> 00:07:51.920 of the original might be turned off by this. 00:07:52.000 --> 00:07:54.319 But as far as I'm concerned, I'm all in on this 00:07:54.319 --> 00:07:58.459 one. The bridge isn't as transformed as Versus 00:07:58.459 --> 00:08:01.480 Me and feels a lot more familiar to the original 00:08:01.480 --> 00:08:04.459 track. But the last chorus does bring us back 00:08:04.459 --> 00:08:06.939 to that double time feel. And while on paper, 00:08:07.139 --> 00:08:11.579 all these time changes might seem jarring. The 00:08:11.579 --> 00:08:15.100 band handles it with perfect precision and the 00:08:15.100 --> 00:08:19.279 time changes feel extremely natural. So I highly 00:08:19.279 --> 00:08:21.560 recommend this version if you're into the heavier 00:08:21.560 --> 00:08:24.680 emo punk sound, because I think they nail it 00:08:24.680 --> 00:08:28.420 here. For version three, we're going to put the 00:08:28.420 --> 00:08:32.220 emo to the side and go all in on the pop punk. 00:08:32.460 --> 00:08:35.299 So the animal in me does have some punk vibes, 00:08:35.399 --> 00:08:39.080 but. Punk Rock Factory dives all in on the pop 00:08:39.080 --> 00:08:42.139 punk vibes, and that's why they're TikTok superstars. 00:08:42.139 --> 00:08:45.700 Once again, a gender -flipped cover. If you're 00:08:45.700 --> 00:08:47.779 a fan of Me First and the Gimme Gimmes like I 00:08:47.779 --> 00:08:49.879 am, you're going to be right at home with Punk 00:08:49.879 --> 00:08:53.159 Rock Factory, and this version sounds exactly 00:08:53.159 --> 00:08:56.440 like what you'd expect. If you want to know what 00:08:56.440 --> 00:09:00.059 Blink -182, Sum 41, or The Offspring sounds like 00:09:00.059 --> 00:09:03.399 covering Taylor Swift's Cruel Summer, That's 00:09:03.399 --> 00:09:05.840 what you're getting here. It's fast. It's accessible. 00:09:06.120 --> 00:09:10.019 It's bouncy. But these guys really nail the pop 00:09:10.019 --> 00:09:13.460 punk sound while giving fans of the original 00:09:13.460 --> 00:09:17.600 what they love from Taylor's version. It only 00:09:17.600 --> 00:09:20.600 runs two minutes and 39 seconds, so it never 00:09:20.600 --> 00:09:23.080 overstays its welcome. And if anything, it actually 00:09:23.080 --> 00:09:26.159 leaves you wanting more. So I guess what more 00:09:26.159 --> 00:09:29.480 can you ask for from a punk cover? Now, version 00:09:29.480 --> 00:09:32.600 four, here's where it starts to get fun. I discovered 00:09:32.600 --> 00:09:35.799 this one going down a musical rabbit hole on 00:09:35.799 --> 00:09:39.539 YouTube. This cover is by a guy called Music 00:09:39.539 --> 00:09:42.980 by Blanks. And I'm guessing some of you have 00:09:42.980 --> 00:09:45.480 heard of him because at the time of this recording, 00:09:45.639 --> 00:09:49.620 he has over 1 .2 million followers on YouTube. 00:09:50.039 --> 00:09:52.220 So I'm not just going to sit here and act like 00:09:52.220 --> 00:09:55.019 this is just some newcomer to the game. He obviously 00:09:55.019 --> 00:09:59.200 knows what he's doing and he does it right. This 00:09:59.200 --> 00:10:03.220 version is a, quote, what if Cruel Summer was 00:10:03.220 --> 00:10:08.279 an 80s hit, end quote. And good Lord, he nails 00:10:08.279 --> 00:10:12.080 it. Both in the song and the accompanying video. 00:10:12.679 --> 00:10:17.120 Synth drum sounds. Keyboards heavy up in front 00:10:17.120 --> 00:10:21.000 in the mix. You got the hand claps. Heavy reverb 00:10:21.000 --> 00:10:24.360 pretty much everywhere. An electric guitar solo. 00:10:24.440 --> 00:10:29.179 This is Taylor Swift's. 80s yacht rock version 00:10:29.179 --> 00:10:32.679 and i know this might not be the best comparison 00:10:32.679 --> 00:10:36.519 given the past history between the two but if 00:10:36.519 --> 00:10:39.399 you're familiar with john mayer's sob rock album 00:10:39.399 --> 00:10:43.559 this is what cruel summer would sound like if 00:10:43.559 --> 00:10:47.210 it was on that album I might have just turned 00:10:47.210 --> 00:10:49.429 this version off for some Taylor Swift fans, 00:10:49.690 --> 00:10:52.570 but for John Mayer fans, I might have just raised 00:10:52.570 --> 00:10:54.809 an eyebrow. I'm really trying to toe the line 00:10:54.809 --> 00:10:58.049 here because I know how passionate Swifties are 00:10:58.049 --> 00:11:00.690 about the song, and I know how passionate people 00:11:00.690 --> 00:11:04.309 that aren't Taylor Swift fans are about not being 00:11:04.309 --> 00:11:06.309 a fan. So I'm trying to give a little bit of 00:11:06.309 --> 00:11:08.850 something for everybody here. But here's the 00:11:08.850 --> 00:11:11.549 thing. The title might sound like this is an 00:11:11.549 --> 00:11:14.370 ironic joke that he's doing, but the production 00:11:14.370 --> 00:11:17.230 on the song is dead serious. It's crystal clear. 00:11:17.429 --> 00:11:20.529 And because of the original song strength, this 00:11:20.529 --> 00:11:23.830 version is flawless. The video is shot in four, 00:11:23.889 --> 00:11:27.629 three, not 16 by nine. So it gives you that real 00:11:27.629 --> 00:11:31.070 eighties television feel. He goes all in on the 00:11:31.070 --> 00:11:33.909 dress and the look of the video, the cuts, the 00:11:33.909 --> 00:11:37.419 closeups. Anyone who grew up watching MTV in 00:11:37.419 --> 00:11:40.360 the 80s is going to appreciate what he's doing 00:11:40.360 --> 00:11:43.519 here. He's not mocking the decade. Because if 00:11:43.519 --> 00:11:45.720 he tried to do that, he failed in that regard. 00:11:46.000 --> 00:11:48.659 Because it comes across with nothing but admiration 00:11:48.659 --> 00:11:51.779 and love. In no way does this feel like a parody 00:11:51.779 --> 00:11:55.200 or mockery of anything. But with all that said, 00:11:55.399 --> 00:11:57.860 the coup de grace happens at 2 minutes and 49 00:11:57.860 --> 00:12:02.399 seconds into the song. Because he throws in the 00:12:02.399 --> 00:12:07.759 80s classic key change. Freaking brilliant. Version 00:12:07.759 --> 00:12:12.860 5 is from Teddy Swims. Fans of Taylor Swift might 00:12:12.860 --> 00:12:14.879 actually be familiar with Teddy Swims because 00:12:14.879 --> 00:12:17.100 he's making a name for himself on the pop charts 00:12:17.100 --> 00:12:20.460 with hits like Lose Control, The Door, and so 00:12:20.460 --> 00:12:22.320 much more that's been coming out over the last 00:12:22.320 --> 00:12:25.460 year. His version of Cruel Summer comes courtesy 00:12:25.460 --> 00:12:30.139 of BBC Radio 1's Live Lounge Sessions. Man, he 00:12:30.139 --> 00:12:33.529 knocks this one out of the park. stripped down 00:12:33.529 --> 00:12:36.250 to a piano in his voice for the entire first 00:12:36.250 --> 00:12:41.190 verse. It's slow, melodic, emotionally charged, 00:12:41.289 --> 00:12:45.429 and it invites you to really listen and focus 00:12:45.429 --> 00:12:49.029 on the lyrics, which is something that hasn't 00:12:49.029 --> 00:12:50.909 necessarily happened in the versions leading 00:12:50.909 --> 00:12:54.100 up to this. At 40 seconds when the first chorus 00:12:54.100 --> 00:12:57.240 kicks in, the drums and band start building this 00:12:57.240 --> 00:13:00.039 whole song together. But the song keeps that 00:13:00.039 --> 00:13:02.980 emotional vibe throughout the second verse and 00:13:02.980 --> 00:13:05.659 beyond. And this drummer's groove, who's ever 00:13:05.659 --> 00:13:09.840 playing with him on this track, is just locked 00:13:09.840 --> 00:13:13.919 in. Honestly, you could play Teddy Swim's version 00:13:13.919 --> 00:13:17.460 back to back with Taylor's original, and it almost 00:13:17.460 --> 00:13:19.299 feels like you're listening to two different 00:13:19.299 --> 00:13:23.980 songs. Taylor's is breezy and, well, summery, 00:13:23.980 --> 00:13:28.080 and this version is just gut -wrenching and powerful. 00:13:28.500 --> 00:13:32.539 It tugs on the heartstrings, but dare I say in 00:13:32.539 --> 00:13:35.700 a good way, the bridge, they actually build up 00:13:35.700 --> 00:13:38.340 and it... slams with heft the drummer builds 00:13:38.340 --> 00:13:41.600 it to a frenzy but he never overplays the song 00:13:41.600 --> 00:13:45.379 he keeps the focus on the vocals and the storytelling 00:13:45.379 --> 00:13:48.720 of the vocals in the song there are some hints 00:13:48.720 --> 00:13:52.720 of an 80s power ballad that seep in momentarily 00:13:52.720 --> 00:13:55.360 but they disappear pretty quickly because it 00:13:55.360 --> 00:13:58.059 gets stripped right back down to a piano and 00:13:58.059 --> 00:14:01.039 vocal chorus before closing out with the full 00:14:01.039 --> 00:14:04.539 band honestly Teddy swim's version could be a 00:14:04.539 --> 00:14:07.159 radio hit in and of itself, and it could fit 00:14:07.159 --> 00:14:10.220 on any of his albums. I'm actually shocked. He 00:14:10.220 --> 00:14:12.700 hasn't recorded a studio version of it because 00:14:12.700 --> 00:14:16.460 this one is that frigging good. And the final 00:14:16.460 --> 00:14:18.679 version of Cruel Summer I want to share is thanks 00:14:18.679 --> 00:14:22.220 to fellow Pantheon Network mate Leah Jones, host 00:14:22.220 --> 00:14:25.120 of the Struts Life podcast, who introduced me 00:14:25.120 --> 00:14:28.179 to this insanely unique cover, which was recorded 00:14:28.179 --> 00:14:31.759 live on Triple J's Like A Version. And that is 00:14:31.759 --> 00:14:36.179 G Flip. This is actually my introduction to her 00:14:36.179 --> 00:14:40.759 music. And good God, is she talented. Her version 00:14:40.759 --> 00:14:43.779 of the song feels, I'd say, closest to the original, 00:14:43.860 --> 00:14:47.299 albeit a little heavier, with guitars and a string 00:14:47.299 --> 00:14:49.960 section that really make up the synth elements, 00:14:50.279 --> 00:14:53.700 although those elements are incorporated tastefully 00:14:53.700 --> 00:14:57.509 here as well. I'm picturing like a Paramore vibe 00:14:57.509 --> 00:15:01.330 for this song, but both eras, the punk side fused 00:15:01.330 --> 00:15:04.490 with the poppier side, along with a love and 00:15:04.490 --> 00:15:07.509 admiration for the original, the pacing, the 00:15:07.509 --> 00:15:10.389 delivery, it's all there. The string section 00:15:10.389 --> 00:15:14.669 really adds a level of heft to the song and makes 00:15:14.669 --> 00:15:18.330 this version feel absolutely massive. Now the 00:15:18.330 --> 00:15:20.450 part of this version that stole the show for 00:15:20.450 --> 00:15:23.629 me, for the first two thirds of the song, G Flip 00:15:23.629 --> 00:15:25.970 is just standing with a mic and singing the song 00:15:25.970 --> 00:15:28.929 and kind of letting the band back her. But at 00:15:28.929 --> 00:15:31.370 the line, I love you ain't the worst thing that 00:15:31.370 --> 00:15:34.070 you ever heard, while she's singing it, she puts 00:15:34.070 --> 00:15:37.730 her microphone down, sits down on a second drum 00:15:37.730 --> 00:15:41.350 set, and uses the drum mic to sing for the remainder 00:15:41.350 --> 00:15:46.309 of the track while slaying. drums as she's playing. 00:15:46.490 --> 00:15:49.409 The first drummer switches to percussion at this 00:15:49.409 --> 00:15:53.909 point, and now she's singing full throttle 100%, 00:15:53.909 --> 00:15:57.429 but she's also playing the song and including 00:15:57.429 --> 00:16:01.269 massive fills at the same time, and both are 00:16:01.269 --> 00:16:05.129 done to perfection. She's not just singing gang 00:16:05.129 --> 00:16:08.710 vocals, she's singing the melody with authority 00:16:08.710 --> 00:16:13.460 and playing the drum fills. Simultaneously, it's 00:16:13.460 --> 00:16:16.500 absolutely unreal, and it's not even the best 00:16:16.500 --> 00:16:20.440 part. By the time they repeat the bridge, she 00:16:20.440 --> 00:16:23.669 switches up the drumbeat to this Ridiculous groove 00:16:23.669 --> 00:16:28.250 that fuses punk, funk and rock all in one while 00:16:28.250 --> 00:16:32.029 continuing that pitch perfect vocal performance. 00:16:32.250 --> 00:16:34.870 The band then rocks out while she nails a bunch 00:16:34.870 --> 00:16:37.929 of vocal runs. The string section keeps building 00:16:37.929 --> 00:16:41.029 and building and it brings the song to this crazy 00:16:41.029 --> 00:16:46.230 climax only to crescendo into a quiet close with 00:16:46.230 --> 00:16:49.470 just her voice and the string section. It's an 00:16:49.470 --> 00:16:53.720 absolute goosebumps moment. this version made 00:16:53.720 --> 00:16:59.000 me a G Flip fan by far moving forward. Now, I've 00:16:59.000 --> 00:17:01.580 just talked about six different cover versions 00:17:01.580 --> 00:17:04.079 of Taylor Swift's Cruel Summer, and you could 00:17:04.079 --> 00:17:06.779 check out all of them over on the episode page 00:17:06.779 --> 00:17:10.000 at myweeklymixtape .com, where they're all embedded 00:17:10.000 --> 00:17:12.660 for you to listen to and watch in the case of 00:17:12.660 --> 00:17:14.940 some of these live performances. You definitely 00:17:14.940 --> 00:17:17.579 need to watch pretty much most of these, although 00:17:17.579 --> 00:17:21.059 The Animal in Me is just an audiogram version 00:17:21.059 --> 00:17:24.079 of the song. But just as a reminder, the six 00:17:24.079 --> 00:17:27.240 renditions once again are from Versus Me, The 00:17:27.240 --> 00:17:31.640 Animal in Me, Punk Rock Factory, Music by Blanks, 00:17:31.799 --> 00:17:35.579 Teddy Swims, and G Flip. If you like what you've 00:17:35.579 --> 00:17:38.359 heard from any of these artists, please go to 00:17:38.359 --> 00:17:41.690 their pages, follow them. Like their videos, 00:17:41.869 --> 00:17:44.329 connect with them on social media, and support 00:17:44.329 --> 00:17:46.410 the other songs they're releasing. Follow them 00:17:46.410 --> 00:17:49.890 on Spotify or wherever. Go to Qobuz and buy their 00:17:49.890 --> 00:17:52.690 songs because as far as I'm concerned, there's 00:17:52.690 --> 00:17:55.450 a ton of great music to dive into from all six 00:17:55.450 --> 00:17:58.849 of these bands and artists. Finally, I threw 00:17:58.849 --> 00:18:02.109 a poll up on the episode page because I would 00:18:02.109 --> 00:18:04.509 love to know what your favorite rendition of 00:18:04.509 --> 00:18:07.309 the song is. outside of Taylor's original, of 00:18:07.309 --> 00:18:09.769 course. So make sure to head over to the episode 00:18:09.769 --> 00:18:12.869 page and vote for your favorite cover or message 00:18:12.869 --> 00:18:16.990 me at myweeklymixtape at gmail .com and let me 00:18:16.990 --> 00:18:19.430 know which version of Cruel Summer was your favorite 00:18:19.430 --> 00:18:22.789 and why. Then remember, you can find My Weekly 00:18:22.789 --> 00:18:25.230 Mixtape on almost all the social media haunts 00:18:25.230 --> 00:18:29.710 at myweeklymixtape. You can also head to myweeklymixtape 00:18:29.710 --> 00:18:32.690 .com to check out the full catalog of my weekly 00:18:32.690 --> 00:18:35.410 mixtape episodes. And finally, if you like what 00:18:35.410 --> 00:18:37.069 you're hearing on the show, you can help me out 00:18:37.069 --> 00:18:39.450 by either telling a friend, leaving the show 00:18:39.450 --> 00:18:41.490 a five -star review wherever you're tuning in, 00:18:41.569 --> 00:18:45.490 or becoming a Patreon mixtaper at patreon .com 00:18:45.490 --> 00:18:48.750 forward slash. My Weekly Mixtape. There you can 00:18:48.750 --> 00:18:51.630 enjoy ad -free episodes of the show, gain early 00:18:51.630 --> 00:18:54.569 access to upcoming episodes, hear bonus episodes 00:18:54.569 --> 00:18:57.789 like this one, chime in on future topics, become 00:18:57.789 --> 00:19:00.690 a guest curator, and so much more. Once again, 00:19:00.890 --> 00:19:05.089 patreon .com forward slash My Weekly Mixtape. 00:19:05.289 --> 00:19:07.650 That's all for this week. Thanks again for listening. 00:19:07.769 --> 00:19:09.930 And until next time, enjoy the tunes.