Musical Appropriation Or Just A Shoe That Fits? : Dirty Loops’ Pop Reversioning
by Thomas Brett
“Hey, we’re on to so much knowledge and the music industry won’t let us use it in a creative way.”
— Aaron, drummer for Dirty Loops
“Could you please make a cover of every song in existence?”
– Dirty Loops YouTube viewer comment
There’s a lot that’s interesting going on when you watch and listen to Dirty Loops, a trio from Sweden, blaze trough their über-funky cover versions of pop songs by Justin Bieber, Britney Spears, Rihanna, Adele, and others.
First, you’re surprised to see, well, three very young-looking Swedish guys making such a funky and soulful sound that draws so heavily on the harmonic conventions of jazz and gospel. Plus, the keyboardist also sounds like Stevie Wonder. But I’m setting myself up here. I was going to say that as far as stylistic appropriation goes, Dirty Loops pulls off a virtuosic feat. This might be unfair though because why should we say that Dirty Loops are appropriating anything? Don’t their clear musical skills suggest a kind of ownership of the musical idioms and eras they’re working in? Does it matter if those idioms– like the jazz-funk fusion on display in Dirty Loops’ pop song covers–have been around since the 1970s? And does it matter that the members of Dirty Loops were not even born until well after the heyday of these musics? I think the group’s airtight playing makes such questions moot.
A second interesting thing going on when you listen to Dirty Loops is that you get to revisit some very well-known pop songs that have been transformed through re-harmonizing and intricately syncopated arrangements. Part of the pleasure here is hearing how light pop hits like Bieber’s “Baby” can be transformed to yield so many riffs, off-beat unison hits, big spacey jazz chords, spirited Wonder-esque vocal runs, Jaco Pastorious-esque bass solos, and drum clinic drum fills. But as you listen with not a little astonishment at Dirty Loops’ instrumental virtuosity, you also wonder if it’s really true that the tune is most important thing in music (the quality of the tune is what makes a song valuable), or whether what matters is what the musicians do with/to the tune (the quality of the musicianship is what makes a performance of a tune valuable). In the case of Dirty Loops, I’m not sure I know the answer.