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:
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.
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.
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.
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!