Category: Britney Spears


(Re)Covered VII: More covers of Cyndi Lauper, Paul Simon, Britney Spears

August 19th, 2008 — 11:15 pm

We’re in an indiefolk mood today, thanks to an increasingly large pile of new material flowing in from fan recommendations, the labels, and the blogosphere at large. As such, there’s nothing particularly rare here today, just a bunch of great web-scavenged covers, most of which had their coming out party long after we originally featured the songwriters that first made them famous — making them a perfect fit for yet another long-awaited edition of our longstanding (Re)Covered series here on Cover Lay Down.

At the height of her popularity, Cyndi Lauper’s strength was in powerful yet simply-stated melody and lyric; in simplicity, however, a song’s flexibility is limited, so it was a nice surprise to find not one but two great new covers coming out over the past few months, especially after finding so many covers of so few different tunes for our May feature on the songs of Cyndi Lauper.

This cover from Canadian indiefolkers The Acorn has been making the blogrounds since at least June, most recently ending up on This Morning I Am Born Again, but it bears repeating for the way it transforms what was once a bouncy throw-away theme for the kid-friendly underground pirate adventure flick The Goonies, turning a cinematic bit of eighties cheese into something lo-fi and fragile, full of string undertones and indie half-tension, the post-millenium’s high-culture equivalent of the exotic comfort of a warm goat-cheese brie.

Meanwhile, alt-folk trio Girlyman gives a chilling, harmony-rich rendition of Lauper ballad All Through the Night, proving once again that good songwriting will out, even through the worst sappiest power ballad production (see also: Supertramp covers). I posted Girlyman’s wonderful version of George Harrison’s My Sweet Lord last year as part of a megapost on the solo work of the post-Beatles Fab Four; I certainly would have shared this perfect live cut when we featured Cyndi Lauper songs last month if I had known about it, but the hype for their gigantic live album Somewhere Different Now, also released in May, seems to have gotten lost in the sea of late spring releases and a recent label change-over for the intrepid and outed members of Girlyman. Special thanks, then, to the anonymous tipster who prompted me to track this song down, which in turn led me to an album which perfectly captures the sweet harmonies and raw yet intimate presence that typifies a small-venue Girlyman show.

Our original exploration of the Paul Simon songbook was large enough to separate into two posts: one on his solo work, and one on his work with that Art guy. But, as I mentioned back then, Simon’s influence on music is immense; as such, as musicians new and rising continue to mine the cultural jetsam for songs that have some personal resonance, coverage of Paul Simon’s vast catalogue remains vast and evergrowing.

From the recently “released” Bedroom Covers album from The Morning Benders, with its wonderfully hushed and lo-fi versions of many favorite and respectable pop tunes, comes an echoey take on Mother and Child Reunion with shades of Iron and Wine, only played out at a tenor’s 45 rpm; Bedroom Covers is a total freebie, and it rocks: we’ll surely come back to it down the road for upcoming Covered in Folk features (we’re way overdue for a Fleetwood Mac set). Plus two versions of what may well be my favorite Paul Simon composition of all time: a pensive yet hopeful bedroom cover from the recently-featured Mark Erelli, and — for those who lean that way — a great countrygrass cover from Darrell Scott’s very promising all-covers “acoustic folk” album Modern Hymns, released just yesterday on the highly credible folklabel Appleseed Recordings, via blazing newcomer blog A Fifty Cent Lighter & A Whiskey Buzz, who also offers up Scott’s solid take on oft-covered Joni Mitchell favorite Urge for Going.

Finally: the “Britney Spears takes over culture” thing is pretty much over, but even after both an All Folked Up feature and a (Re)Covered revisit, her songs continue to crop up everywhere that indie hipsters crave irony. Today’s evidence comes from The Portland Cello Project, which finally hit stores this week after months of slow-burning hype. I’m by no means the first to notice The Portland Cello Project, and technically, they’re not folk, either — critics are calling the guest-vocalist-with-multiple-cello sound chamber pop; their myspace page lists them as indie/classical/rock. Listen through their whole self-titled debut, though, and you may think you’ve discovered yet another new folk, akin to the experimentation of, say, Abigail Washburn’s Sparrow Quartet project (which also features cellist Ben Sollee).

The album tracks each feature collaboration from the Pacific Northwest indiefolk crowd, including star turns from Loch Lomond’s Ritchie Young and indiefolk darling Laura Gibson; I especially like the delicate indietune Under Glass, and Stay, a wonderful, plucked-sting acoustic waltz with guest Anna Fritz. Captain Obvious gets cred for picking the Gibson and Under Glass for sampling. And PCP gets TOTAL bonus points here for a secret, hidden covertrack, which sets the Mario Brothers theme song to a classical ensemble sound, and then slowly buries it in a faux-military drumroll — that no other blogger has mentioned that says what it needs to about how most critics listen to label freebies, sadly.

Whatever you call it, this is surprisingly solid, listenable music, covering a huge range of pleasurable soundscape; though it’s among the more upbeat and fun songs on the album, their version of Toxic still comes across as authentic, not just some marching band cover. And since the Britney covers always bring a smile, and given the increasing prevalence of cello in folk music, I’ll allow it just this once. With a few other recent Britney covers scavenged from the webs that fall on the edge of folk: Sia’s delicate acoustic version of Gimmie More, and French-Israeli singer-songwriter Yael Naim’s ubiquitous pop-folktronic Toxic, just in case you haven’t heard it. And so the trend continues.

803 comments » | (Re)Covered, Acorn, Britney Spears, Cyndi Lauper, Darrell Scott, Mark Erelli, Morning Benders, Paul Simon, Portland Cello Project, Sia, Yael Naim

(Re)Covered: More folk covers of Britney, Lou Reed, Chris Smither, Amazing Grace

November 9th, 2007 — 10:15 am

In order to maintain quality over quantity, this is our last regular Friday post here at Cover Lay Down; from now on, you’ll still get ten or more carefully vetted songs a week, but with a few notable exceptions (holidays, the occasional Folk Family Friday), posts will appear on Sundays and Wednesdays.

Today, for a “final” Friday post, we recover a few songs that dropped through the cracks just a little too late to make it into the posts where they belonged. Ladies and Gentlemen: our last regular Friday, our first (Re)Covered.

My Halloween post on Britney Spears folk-covers seems to have started a trend: if you haven’t already, head on over to Cover Freak and new blog Cover Me for a whole mess o’ popcovers from across the musical spectrum. Especially recommended for folkfans: Shawn Colvin‘s cover of Gnarls Barkley summersong Crazy, Matt Weddle’s reinterpretation of Outcast hit Hey Ya, the term “Pop Tart” to describe a certain type of female pop singer. Not recommended: Nickel Creek’s cover of Toxic, which I download and delete every few months — it was probably hilariously wonderful in concert, but the recording suffers from some abysmal recording quality.

But the popcover flood isn’t over yet: in addition to sparking a coverblog meme, my own post brought several direct submissions out of the ether. You’ll see a few of these in future posts; in the meantime, here’s a few of the best Britney Spears covers I received in the past few days:

  • Irish folkrocker Glen Hansard of the Frames covers Britney’s Everytime (Thanks, Rose!)
  • Another chilling version of Toxic from Dutch folkgoddess Stevie Ann, this one in-studio and sans sax (Thanks, the_red_shoes!)
  • More from Guuzbourg:
    • a light sweet version of Toxic from the Chapin Sisters
    • a Klezmer-esque Toxic from Global Kryner.

In other news, I also found a great “bonus” for last week’s Lou Reed folk coverpost while flipping through some old entries in retropsychadeliablog Garden of Delights. June Tabor and The Oyster Band’s 1990 version of Velvet Underground classic All Tomorrow’s Parties has strong ties to the traditional Irish/British countrysongs at the core of folk rock as first defined by Pentangle, Donovan, and Steeleye Span in the 1970s.

  • June Tabor and The Oyster Band, All Tomorrow’s Parties

After weeks of scouring local public libraries, I finally found Bonnie Raitt’s absolutely marvelous cover of Chris Smither‘s I Feel The Same and the produced version of his Love Me Like A Man on her 1990 retrospective The Bonnie Raitt Collection. I’ve loved this pair of covers ever since I was a kid; listening to them again brings me right back to the hardwood floor in front of my father’s stereo, carefully sliding records out of their sleeves. I posted a live version of the latter last week, but the produced versions are better.

  • Bonnie Raitt, I Feel The Same
  • Bonnie Raitt, Love Me Like A Man

Had I began researching this week’s post on folksong lullabies earlier, I would have discovered classicalfolk guitarist and composer John T. La Barbera‘s version of Who’s Goin’ To Shoe Your Pretty Little Foot in time to include it in my post on Amazing Grace and the folk/gospel tradition. They’re not the same song, but the music is almost identical; for the first half a minute, La Barbera’s soft, gorgeously lush instrumental could be either.

  • John La Barbera, Who’s Goin’ To Shoe Your Pretty Little Foot (trad.)

Finally, thanks to all who send, tout, and post music — keep those afterpost suggestions coming in, folks! And don’t forget to come back on Sunday for a very special ten-song feature on the folkier side of Beck!


798 comments » | (Re)Covered, Amazing Grace, Bonnie Raitt, Britney Spears, Chapin Systers, Chris Smither, Glen Hansard, Global Kryner, John La Barbera, June Tabor, Lou Reed, Oysterband, Stevie Ann

All Folked Up: Britney Spears Stripped Down, Sweet, and Seriously Scary

October 31st, 2007 — 07:51 am

You can’t get much farther from the stripped-down authenticity of folk music than the lip-synch spectacle of top 40 pop songs; the odd Springsteen or Dylan anomaly aside, the stuff we favor on Cover Lay Down doesn’t see mass market radio play. But that doesn’t necessarily make every folk cover of every song originally performed by a half-naked ex-Mouseketeer a joke. A good song is a good song is a good song — and sometimes it takes a jolt to the system to allow the listener to bring new meaning to the overly familiar.

To prove this theory, for our Halloween special, I went in search of the most disturbing set of folk covers I could imagine.

Folk covers of Britney Spears songs.

And the scariest part is, some of them are quite good.

Some are not, of course. It’s hard to make meaning out of something played to death, harder still to keep the MTV imagery from invading the brain, corrupting any sincere attempt at rehabilitating a popsong. It’s easier to make a joke out of the familiar instead, making easy laughs and easier cash on a novelty act.

Today, in an attempt to explore this admittedly simplistic model for envisioning the pop cover song’s purpose, we bring you a double trio of folked-up Britney cuts: the merely covered, and the genuinely recovered. Some may make you weep. Some will make you laugh. One or two will make you wonder why Max Martin (the man behind the Britney throne) is wasting his time writing tunes which will never be truly appreciated by anyone above the age of fourteen.

My recommendation: listen to each of these through, tricks and treats alike, until you can truly appreciate them for the meaning their coverartists bring. Even novelty is worth something. And plucking a tired backbeat from the radio to breathe new and vibrant life into it, making something golden out of something glittery? In the world of coversongs, it’s the holy grail.

Let’s start, then, with the good stuff. Ladies and Gentlemen, we bring you Britney Spears, recovered.

  • Stevie Ann, Toxic
    Netherlands native Stevie Ann — my current music-crush — covers Toxic as a lush, poignant paean to poisoned love. The link here is the produced version, courtesy of Guuzbourg of french girlsinger blog Filles Sourires; but you can and should also see an absolutely incredible live-on-the-radio cover sans saxophone over at Coverville, after which you, too, will wonder why this young woman is still only touring in her native country.

  • Richard Thompson, Oops! I Did It Again
    In the “original” live recording of Richard Thompson‘s version of Oops! I Did It Again, off coveralbum 1000 Years of Popular Music, his audience thinks he’s making fun of the song. This much tighter solo cut from an NPR session reveals otherwise. Thompson’s rough voice, loose tempo, and all-around angst bring just the right note of self-flagellation and regret to the tune. Originally via always great oft-folk musicblog The Late Greats.
  • Fountains Of Wayne, Hit Me Baby One More Time
    Okay, Fountains Of Wayne isn’t folk, but I’ve missed the band at two folk festivals so far, so I’m going to allow it. Their all-male electrified alt-geekrock version of Hit Me Baby One More Time turns what had been a dubiously anti-feminist anthem of love at all costs into a soft plea for the sensitive guy trying to make sense of a world full of Britney-lovers.

Second verse, same as the first — but where the folktunes above are genuinely successful attempts to rescue surprisingly decent songs, these either play the songs for laughs, tongue firmly in cheek, or try to interpret beyond their reach.

  • The BossHoss, Toxic
    Kitschmeisters The BossHoss, Germany’s bluegrass/country/rock answer to Richard Cheese, take on Toxic. They’re tight, and worth the novelty, but really, if you’ve heard one Hayseed Dixie, you’ve heard them all. Still, their cover choices are fun; kudos to Motel De Moka, the music blog with a knack for the perfect themed playlist, for spreading this around just when I needed a pick-me-up.

  • Fuck, Oops! I Did It Again
    I don’t know much about the unfortunately-named Fuck, and if this lo-fi, experimental cover is any indication of their prowess and style, I’m okay with that. The subtle vibes and cello (and wind machine?) aren’t bad, but the plodding speed only underscores the overly simple, maudlin interpretation. Thanks to coverblogger extraordinaire Copy, Right? for originally posting this, though — everything’s worth trying once.
  • Travis, Hit Me Baby One More Time
    Travis‘ live attempt to unplug and slow down Hit Me Baby One More Time turns silly far too quickly. Bad sign: the band starts out trying to play it straight, but can’t keep from cracking up when they hit the falsetto call and response of the chorus. Worse: they seem ruefully surprised at their own laughter, despite the fact that they clearly rehearsed the vocals.

As always here on Cover Lay Down, all artist links above lead to artist websites, which in turn lead to the artists’ preferred source for music-purchasing. Follow these links — and the links to other coverblogs scattered throughout — for the best door-to-door treats around.

You’re on your own for buying Britney, though. Some things are too scary, even for Halloween.

651 comments » | all folked up, Boss Hoss, Britney Spears, Covered in Folk, Fountains of Wayne, Fuck, Richard Thompson, Stevie Ann, Travis