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"American Idol" Adding Guitar Strumming, Subtracting Mentors

November 5, 2007 7:13 PM ET

With this season's American Idol currently taping the "Hollywood stage," when the throng of contestants who are "going to Hollywood" gets slashed down to twelve guys and twelve girls, AI producer Nigel Lythgoe is opening up about some of the changes the show is undergoing in its seventh season. The biggest shift, one that would have benefitted Idol losers like Blake Lewis, Bo Bice and Chris Daughtry, is that contestants will be now allowed to show off their instrumental talents as part of the Hollywood portion. Lythgoe, who is also hard at work on Idol spawn The Next Great American Band, is unsure whether that aspect will carry over into voting weeks.

This season will also feature fewer celebrity mentors, as having the contestants share the spotlight every week last year likely contributed to slightly lower ratings. Lythgoe tells the New York Post, "We got such good mentors [last season] that we forgot about ... getting across who these kids were, their backgrounds and families. There are legends in our business that hopefully will come along as mentors on Idol this season -- but not every single week." There goes any hope of a possible Shalamar mentorship. The last potential change is the possible joint tour of Fox darlings American Idol and So You Think You Can Dance. "I'd love to see the Dance tour go out with the Idol tour and put the singing and dancing together," Lythgoe says. There's a lot of time between then and now however, and millions of votes to tabulate, as American Idol's seventh season is set to premiere in January.

Related Stories:
Did the 'American Idol' Tour Hurt More Minors Than It Entertained?
Rock Reality Show Recap: Crappy Groups Galore Grace the Premiere of 'The Next Great American Band'
'American Idol' Based Movie in the Works: The Musical Version of 'Rocky'

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Song Stories

“Try a Little Tenderness”

Otis Redding | 1966

This pop standard had been previously recorded by dozens of artists, including by Bing Crosby 33 years before Otis Redding, who usually wrote his own songs, cut it. It was actually Sam Cooke’s 1964 take, which Redding’s manager played for Otis, that inspired the initially reluctant singer to take on the song. Isaac Hayes, then working as Stax Records’ in-house producer, handled the arrangement, and Booker T. and the MG’s were the backing band. Redding’s soulful version begins quite slowly and tenderly itself before mounting into a rousing, almost religious “You’ve gotta hold her, squeeze her …” climax. “I did that damn song you told me to do,” Redding told his manager. “It’s a brand new song now.”

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