Kickstarter Covers: Mark Erelli’s MIXTAPE
with covers of Don Henley, The Band, and more!


Mark-Erelli


Regular readers may recall that we hold a special place in our hearts for Boston-based singer-songwriter and sideman extraordinaire Mark Erelli, who recorded his 2001 album The Memorial Hall Recordings in a stately Civil-War-era edifice in our little town, and returned a decade later to grace us with our own little house concert. Indeed, we’ve written so much about Erelli here at Cover Lay Down since our humble beginnings ten years ago – most recently for his double-dip coverage of Dawes, a posthumous homage to Prince, and his previous covers album, a tribute to folk icon Bill Morrissey – it’s hard to know where to begin again.

But MIXTAPE, Mark’s newest project, now in its final days of a crowdsourced campaign over at Kickstarter, offers the perfect coincidence for our love of both Mark Erelli and the celebration of song and culture through coverage. And so, today, we turn once again to one of our very favorite artists, in the hopes that you, too, might lend your patronage to its release.




mixtapeThough his original recordings are themselves both revered and well-covered by his peers and fans, Mark Erelli’s penchant for covers is well-known in the folkworld. His long-standing and always-worth-checking Mp3 of the Month series, released through his website, has long fed our hunger for great live and lo-fi demo recordings, and currently features a wonderful live take on Roy Orbison’s Crying; his work with bluegrass-tinged collaborative Barnstar! gave us raucous, rollicking takes on Dawes, Josh Ritter, and more. His soft and mostly-solo acoustic lullabies album Innocent When You Dream, recorded originally as a gift for family and friends, is tender and sweet, perfect for the mellow hours with or without children. And we celebrated Milltowns, his 2014 tribute to Bill Morrissey, as a warm, deep, surprisingly poignant tribute to a legendary singer-songwriter featuring multi-instrumentalist and performer-and-interpreter extraordinaire Erelli at his studio best and some smashing sideline work from the likes of Peter Mulvey, Rose Cousins, Kris Delmhorst, Jeffrey Foucault, Anais Mitchell, & Rose Polenzani – all artists we’ve featured on these pages before.

MIXTAPE, which will not officially drop until January of 2018, adds something new and exciting to these collected works: a tribute to both that broader, diverse culture that influences us, and to his perennially sold-out Under The Covers concert sessions, hosted at Club Passim in Cambridge by Erelli and a host of famous friends each December for the past 14 years, that have for years offered joyous celebration of the songs and songwriters that have influenced them, their cultural upbringing, and their craft.

Recorded live at Great North Sound Society up in Maine with a small group of friends (and fellow members of Josh Ritter’s band), all indicators suggest that MIXTAPE is a comprehensive fulfillment of the promise of catchy songcraft, tender and gleeful homage, and deft, detailed, delightful musicianship that has come to represent the hallmark of Erelli’s career and coverage. The tracklisting, which includes songs from the Grateful Dead, Phil Collins, Neko Case, Patty Griffin, Arcade Fire, Solomon Burke, and more, is a temptress, indeed; his cover of Don Henley’s Boys of Summer, a haunting, soulful studio track released earlier this week over at Cover Me, and the live video of the recording session for The Band classic Ophelia, which you can hear and see below, lend substance to that promise, and fuel our excitement.




Mark’s own words regarding this high-energy take on Ophelia are especially revealing, and fit neatly with both our celebration of the impending collection and of our ongoing exploration of the ethnographic function of coverage as integral to the communality of the folkways:

When I think of how music should ideally sound —soulful, melodic, restrained virtuosity over a serious groove — I keep circling back to The Band. I’m not sure that anyone, anyone, has done music better than this group on its first two records. On this masterpiece from their later years, I wanted to evoke a bit of all those things I love most about playing music. A lofty goal for sure, but Ray Rizzo’s rimshot-heavy groove and the New Orleans bounce in Sam Kassirer’s piano took me most of the way there. That’s Jake Armerding, 14-year veteran of the annual Under The Covers shows and fellow Barnstar! member, tearing it up on the fiddle.

In short, then: we’re eager to hear MIXTAPE in full, especially because the above-mentioned tracks, and all previous indicators, suggest that the Kickstarter campaign – now in its last six days – is not kidding when it refers to the album as a true opportunity to hear Mark Erelli’s potent, inimitable voice unleashed.

But to truly unleash MIXTAPE, Erelli needs our support.

So click on through to the Mark Erelli Made You A MIXTAPE Kickstarter to lend your patronage now, before the clock runs out. Snag a patronage gift, from signed and downloadable copies of the album in your mailbox two whole months before its official release to bonus covertracks, out of print records, bootlegs, concert tickets, cover song recordings of your choice, and more.

And then, while you wait for your album and patronage incentives to arrive – since we’ve shared so many of Mark’s own covers before – click back through a foursome of our previous features on Erelli’s coverage below, the better to anticipate the gift that MIXTAPE represents.


Screen Shot 2017-10-07 at 9.12.58 AMBut first, a total bonus: We are thrilled to announce that Mark Erelli will be helping us celebrate Cover Lay Down’s 10th anniversary with a pre-album-release show at our very own Unity House Concerts in Springfield, MA, on December 9, just a week before his 14th annual Passim show with bassman Zachariah Hickman and fiddle player Jake Amerding. We’ll be announcing ticket sales in the next few weeks on our Facebook page, so stay tuned; Mark has promised to use the set as an opportunity to test out some of his newest covers for this year’s Passim sets, so the coverage should be thick on the ground.

As an extra incentive to our readers and fans, all who contribute to Mark Erelli’s MIXTAPE Kickstarter at the $25 level or above will receive an exclusive invitation to an appetizers-and-drinks reception before the show, and a soundboard recording of three carefully-chosen covers from that show, with our grateful thanks for your support of both the artist and his art.



Previously on Cover Lay Down:


Looking for more? Today’s bonus tracks feature a sextet of contemporaries taking on the Mark Erelli songbook.



Always ad-free and artist-friendly, Cover Lay Down celebrates ten years on the web this year thanks to the ongoing support of readers like you.

Comment » | House Concerts, Kickstarter Covers, Mark Erelli

Covered In Folk: Steely Dan
(RIP Walter Becker, 1950-2017)





I’ve always felt rather connected to Walter Becker and Donald Fagen, the core and founding membership of long-time classic rock staples and multiple Grammy winners Steely Dan. Like them, I dropped out of Bard College; like them, my tastes run vast, past the boundaries of genre, and through it, to where the intricacies of meaning shrink down to playful, tight nuance, layered complexity, and more than a little dissonant swing.

Too, though their heyday started while we were still too short to care, the band’s influence on my own generation cannot be denied. Theirs is the accidental summer soundtrack of our youth, the pop and crackle of a car radio, the windows rolled down and the sun streaming in. The sharp horns and sharper arrangements from the yard sale records that kept me up at night before I knew what to do with it all, like The Little Prince and the sharp taste of espresso. The thoughtful, innovative playlist for our long miles driving North through unknown country, equal parts soul, rock, jazz, pop, and something new: a music deliberately designed to celebrate and serve the alienated, discomforted soul.

So to honor guitarist, bassist, composer and co-arranger Becker, who passed yesterday at 67 due to an undisclosed illness and was still touring as recently as last Spring, I went looking for coverage. And more than anything, I found it hard to find.

I suppose this should be no surprise: covering Steely Dan offers no small challenge to the folkworld. We’re talking about a collaboration that produces intimidatingly complex landscapes beyond the ken of most cover artists; a name brand whose high-lexile lyrical wordplay, like that of John Ashbury (a mentor of mine at Bard, who also passed yesterday) and the rest of the New York School of poets so en vogue at Bard College during all our shortened tenures, serves as percussive instrument as much as – and sometimes more than – a carrier of sizzling, irony-laden, image-heady narrative; a band aptly described as “the most sonically sophisticated pop act of the 21st Century“, fully in control of its faculties.

Add to this the band’s tendency to name their songs simply, making them hard to search for, and the result is a lean but no less stunning tribute in postmillennial acoustic and roots transformations, ranging from Wilco‘s faithful turn on Any Major Dude to familiar jazzfolk from Rickie Lee Jones and Jemma Mammina to live bluegrass settings from Mountain Heart and The Barefoot Movement, with the ragged, grungy treacle of British throwback folkrock foursome Turin BrakesRikki Don’t Lose That Number, instrumental gypsy Jazz from New York electric violinist Joe Deninzon, deceptively crisp chamberfolk from Heartscore with Jamie Rivera, a truly amateur but no less loving solo acoustic cover from YouTuber Enormously Small, and – just for good measure – Nik Hunt, The National Pool, and Michael Rand‘s decidedly weird and entirely different deconstructions of Do It Again, Home At Last, and Reelin’ In The Years.

Somewhere, Walter Becker is explaining chords to the heavenly choir, their heads nodding in rhythm as they listen. May they sing as precisely for him as they did on his records, and in our dreams.


Any Major Dude: The Songs Of Steely Dan
A Cover Lay Down Tribute Mix
[zip!]



Always ad-free and artist-friendly, Cover Lay Down celebrates its tenth year in the ether this month with grateful thanks to our donors, our readers, and the musicians that make it all happen. Stay tuned for mailbag marvels, Kickstarter previews, new covers and tribute albums, and more as September stretches out before us!

Comment » | Covered In Folk, RIP, Steely Dan

Friday, In The Fall: A Triptych Concludes


stream


Cover Lay Down will celebrate its tenth anniversary on the web this month, and behind the scenes, we’re just starting to gather in news, fragments, and new and beloved tracks for a series of September features honoring the folkways that got us here, and keeps us moving ever forward, as culture and community.

But today, as I sit on the porch watching the sun come up through the still-green trees, I find myself not yet ready to dive into the songs and artists that have sustained us, and helped us stay sane and present through the rise and fall of life as it comes.

Instead, I’m still thinking about Aida, after meeting her husband and infant at Thursday’s somber wake. About my own marriage, now the same age as Aida was when she passed on from this world. About all the times I have written here about the stress and triumphs of the students I teach, and our struggle together. About my father, and our Saturdays across the state. About my children, and their ongoing struggle with their imperfect bodies, and the stress that brings them pain.

I’ve been thinking about history, in case you couldn’t tell: mine, and the earth’s, especially the way the nights turn colder this time of year, and it’s Autumn again, kids laughing and learning how to learn. The elderchild and her sister are back in school, a day at a time; my own work is deeply satisfying, though ever imperfect, and always exhausting. My Drama class takes their first tentative steps bravely, stretching and walking into neutral as they prepare for a term exploring body and voice as the tools of the trade; my Advanced Placement students dive in to rigor, testing their capacity, and my own, as we raise the bar for rigorous analysis of speeches and essays.

Somewhere past these trees, our little rural town is holding its annual yard sale. Sidewalks and driveways once covered in the detritus of the tornado that ripped through our homes sport furniture and books, lamps and tools, restored to shabby, weathered glory, ready for use in another home. Life happens, and here we are, sifting through it, thinking ahead about what we might need as we take then next steps in our continued journey.

We’re rising to the challenge of the world that needs it. We’re dancing about architecture, and making it work. We’re navigating the impeded waters, singing. The not-so-wee one went home early from school on her second day, but she made it, and that’s something. The elderchild finds a small group in the lunchroom, determined to stay out of the drama she sees in her adolescent cohort, lest it distract from her academic development. My father hangs his pictures in the dining room, six months after moving in to his new assisted living apartment. The kid who locked the laptop cart lock to his backpack comes respectfully, without headphones, to ask to be released. He still won’t stay the entire block. But he came again today, and he’ll come again tomorrow, too.

Here. We’ve made it to the end of another week, the end of the endless summer once again. Let us dwell not in words, save those which are sung in reverence and glee. Let us speak our piece and move on, in honor of the respite we’ve earned a hundredfold. Let us celebrate the fruits of labor, and the work it takes to get there: the hard work of play, and letting go, to be present in the moment, and the music, and the self.

Happy Labor Day, dear readers. May your work, too, be employed joyfully, when it comes.


2 comments » | Mixtapes

Passages: For Aida, And A Thousand Stars


aida


Aida was an outlier in my very first English class, a summer school test-run after years teaching media and instructional technology. Bright, beautiful, articulate, and quietly confident at just thirteen years old, she didn’t really belong in the remedial program, but she had lost most of a year to hearing issues and poor health, and now, recovering from implant surgery, she was mostly just there for the credit, to justify her existence in high school.

So while other students struggled to focus, to read, and to care, Aida wrote volumes, and shared with me the fruits of her blossoming awareness and skill. I gave her my copy of The Poet’s Dictionary, and spoke quietly to her in passing and after class about sestinas and pantoums, rhythm and language as a path to the self. She could talk literature and heartache with a wisdom far beyond the capacity of most adults I know. And that smile was the sweetest ever – grateful, knowing, wry; one that lingers in the memory, even now.

I’ve taught thousands of students in over two decades in education. In a very real way, I’ve loved them all. But once a year or so, if you’re lucky, you get a couple of students that connect on a much deeper level – the kind of kids you happily break the rules for, and drive them to work in the shampoo warehouse on the other side of the city because you just want a chance to chat with another bright, vibrant human being, and to be a part of their climb out of the city, to the stars.

Aida wasn’t the first of these kids, and she wasn’t the only one from her year – being a class advisor tends to bring you closer to the cohort, I think. But she was something special all the same. Hers was a smile that could light up a room, one that never faded, and always seemed authentic. Even in sorrow or stress, she was positive and proud. Her cheerful, unapologetic arrival at prom, solo and shimmering and hours late after her hair took too long to come together, lives as a high point in my year. Watching her walk across the stage three years ago as a graduate made my heart jump.

And today, struggling to define that inimitable something, I know that more than almost any student I have ever had, a shining star among thousands, Aida knew herself joyfully, like a natural-born Buddha, having discovered earlier than most that hers was truly a self worth knowing, and worth waiting for.




I last saw Aida in person purely by accident, a year ago this week; she was working as a cashier at Target to pay for school; we were there to buy school supplies for my classroom, and for the kids. Afterwards, as before, social media provided an opportunity to watch her from a distance, as the precocious, beautiful child I had first encountered continued to grow, into an increasingly articulate and determined career-minded adult, spouse, and very recently, just this summer, a mother, loved by and loving to so many of us.

But in the end, Aida’s health was her undoing. A car crash with her infant son a few weeks ago left her shaken and in pain, and stirred up old injuries. For a while, she was recovering, alive and proud of her struggle, as always. And then, this morning, we awoke to the news that after a seizure, Aida had passed in the night.

There’s a video on Aida’s husband’s Facebook page from just three days ago, a short clip featuring her beautiful son, wailing for mama while her father coos reassuringly behind the camera. Aida was alive when this was filmed, just working – on the last course for her degree, on her health, and on her ever-changing beauty, a rare trifecta among our inner city youth. Forever, that clip, and every other artifact of Aida’s life that lives on in so many of us, will break my heart.

I owe Aida so much, and I think I never told her. She was the right kid, in the right place, at the right time: the one who reminded me, way back when I needed it most, that teaching has both love and friendship in it, even – maybe especially – in the darkest of communities, and the most sullen of crowds. She will forever exemplify the positive attitude, kindness, and grit I wish of every student I teach. I will treasure the memory of that smile forever, even if it were not all I have to remember her by – that, the company of her friends and schoolmates, and the space on the bookshelf where my Poet’s Dictionary used to live.

May there always be those among us us who bring us joy, however brief, and remind us that we are in the right place in the world. May those we serve go from this life as they found us in it: alive and kicking, determined and bright, at peace with the world even as they push themselves for more.

May we love, fiercely, those who bring out our best.

And may there always be Aidas, that we may remember ourselves.



8 comments » | Mixtapes

And Both Shall Row: A Wedding Anniversary Mix


jbowl


The kids are away at summer camp. It’s Friday, which matters, now that school is starting up again.

And it’s the 18th of August, which matters most. Because today is our anniversary, and as much as we are going grey, ours is a love that is worth the work.

My wife has named this anniversary as the one where “our marriage is finally old enough to drink”. She also claims we met the first day of college, though I remember another night, when we played that game of Pictionary, and stayed up until the sun rose again for the very first time.

Either way: it’s been a long time. And I would do it again, in a heartbeat.

It’s good to have something to share, and someone to share it with. It’s good to have a partner in crime, happy to be a Mary Magdalene to your Jesus even when she’s a stranger at your party, willing to sit in a hayfield sewing and then resewing a hat for your crazy garden gnome costume.

It’s good to have this, and a thousand moments, really: harmonizing in empty churches; the duck in the bathtub; Disney World in a drizzle; the Christmas Eve where we drove out into the cold and ended up across state lines, eating gingerbread and drinking wine in the last open bar for a hundred miles, just to put a ring on her finger, even though we had picked it out together.

And I am grateful for all of it, and the chance to be grateful every morning when I wake, and find her by my side once again.

For this, and the longing to be together and stay together through these last few years of sickness and health, and the early years of motion and uncertainty. This, and the hard work of marriage-as-verb, the constant reflection and sharing and listening that we have learned to do better, at least, as time goes on, and life lays opportunity at our feet. This, and the polished gold seams, the thousand places where we have been tested and tried together, and healed more beautiful than before, like one of those Japanese bowls.

This, and the home we hold, committed to light, laughter, and the spirit of adventure, or so it says on the ketubah, and oh, on most days, it’s still the perfect trifecta, the top of the roller coaster, the cornerstone of a love deeper than the dark.

Because this I remember: 21 years ago today we made ham sandwiches with the rabbi. Your sister fainted holding the chupah. Your grandmother set fire to the reception table. My friends got high in the parking lot.

And then, when the last guest had wandered into the sunset, we went home together, you and I, to the house we had lived in before, above the swan pond. And the next morning, we drove off into the bright new dawning day, comfortable and joyful in silence and in conversation, ready for every next adventure.

May there be a thousand more.



7 comments » | Mixtapes

Festival Coverfolk: Falcon Ridge Folk Fest (Aug 3-6)
Part 2 of 2: The Emerging Artists Showcase & The Lounge Stage

Tuesday’s 22-track coverset featuring the diverse set of folk, world music, and roots artists slated to perform at this year’s Falcon Ridge Folk Fest in beautiful New York farm country at the foot of the Berkshires was grand, but mainstage isn’t the only scene at Falcon Ridge. Our second shot this year focuses on a pair of other artist cohorts: The Emerging Artists Showcase, which runs from noon to 4:30 on Friday on mainstage, and the Lounge Stage, a pop-up “festival within a festival” which takes place from 4-11 on Thursday under the Dance Tent. Enjoy – and as always, follow links back to learn more about each artist, even if you can’t make it to this year’s festival!


rd2013
Falcon Ridge 2013 Emerging Artists Roosevelt Dime play an impromptu set on the midway – an excellent strategy to win fans and please the crowd beyond the Friday showcase.


Simply stated, the Falcon Ridge Folk Festival’s Grassy Hill Emerging Artists Showcase is well known in the industry as a highly competitive proving ground: a jury-chosen selection of 24 artists on the cusp of national name-brand recognition, many of whom arrive with little more than local support and a single album or EP in their pocket, who take over mainstage for a pair of songs each as the festival begins its official performance schedule. At the end of the festival, attendee surveys poll the crowd on who they’d most like to see again; the top three vote-getters are asked to come back the following year for a mainstage Most Wanted Song Swap, ensuring a loving welcome for those who stand out among the crowd.

To be fair, there are factors out of artists control which can influence favoritism. Later placement in the line-up, and the occasional rain shower midway through the afternoon, for example, have an influence on who sees who. But truly, the showcase is just the beginning of the journey towards greater recognition and love. Artists who push their presence beyond the stage itself – into the pop-up radio station vendor venues, and the late-night campsite circles and mini-stages such as The Big Orange Tarp, Budgiedome, and Pirate Camp, with their folk radio DJ and promoter MCs, which attract and present in scheduled form a cool mix of mainstage artists, rising stars, and special guests once the stages close down for the night – tend to be those who return.

But no matter how or whether they get selected for the following year’s Most Wanted swap, diehards know that the next big thing is – quite probably – here before us on Friday afternoon at the fest. Artists who have performed in the emerging artist showcase and moved on to greatness include many of our favorites here at Cover Lay Down, including Darlingside, Erin McKeown, Jean Rohe, Matt Nakoa, Roosevelt Dime, Parsonsfield, Spuyten Duyvil, Lucy Wainwright Roche, Red Molly, Joe Crookston, Pesky J. Nixon, Girlyman, and more – a fine list of names, and a familiar one to those who watch the folk charts and coffeehouses.


mure2This year’s roster is unusually strong in talent, but rare in broad familiarity; as such, it behooves us not to forecast favorites. But there are a few familiar and beloved faces on this year’s list, as befits a smorgasbord – five out of 24, in fact, have been celebrated here on Cover Lay Down before, either alone or in collaboration with notable others.

Of these, two are especially familiar to Falcon Ridge audiences: Robinson Treacher, previously featured here and in the FRFF 2016 vendor zone for his trio work with Brad Cole and fest fave Matt Nakoa, an association which should garner him no small amount of interest on stage this year, and Heather Aubrey Lloyd, who is also well known to regular fest-goers for her work with one-time Most Wanted trio ILYAIMY and for solo performance at the pre-fest Lounge Stage; here, the band’s cover of Iggy Azalea’s Black Widow, recorded in 2014, offers solid evidence for why we treasure her new solo album, and her performance.

We’re especially thrilled to finally have a chance to catch NYC singer-songwriter, classically trained oboist, and composer/arranger Emily Mure live and in person after missing her first go-round at the Emerging Artists pool in 2008 (an unusually competitive year in which voting heavily favored bands and combos). Emily’s gorgeous cover of Elliott Smith’s Between The Bars made our 2016 Best Singles Mix; previously, we’d featured her delightfully orchestrated cover of Cake fave Mexico with nowhere near enough fanfare, though notably, both No Depression and Red Line Roots raved about it at the time – these two songs, alone, are enough to make sure we catch up with her, and help steer her towards the wider proving grounds beyond the stage. Her impending album Worth, a well-produced, wistful-to-wild exemplar of contemporary singer-songwriter folk, is due to drop with no small fanfare in September; we’re honored to present that album’s sole cover, a tender and utterly stunning David Bowie tribute, in today’s mix as a Cover Lay Down exclusive, with permission from Mure herself.

Two other artists come to us with other familiarity, through their recordings. Midwesterner Josh Harty made his previous appearance on CLD in 2014, in a collaboration with CLD fave John Statz that featured covers of both Greg Brown and John Prine. And The End Of America, an otherwise-unknown-to-us trio, garnered honorable mention in our Best Video Coverfolk of 2015 for a strong 6-part winter YouTube coverseries; we’ve dug deeper today for a slightly older cover of The Night They Drove Old Dixie Down to better feature their strong three-part harmonies.

Both our set today and the emerging artists pool it represents place these five among a strong set of peers. Notably, though, the caveats of coverage apply. Not all artists are represented here; our covers-only approach is a limiting lens, and of the original 24, a handful of artists performing this year at Falcon Ridge have no covers “out there”, or at least not those easily found. I looked hard, though, for anything to offer from John John Brown, Clint Alphin, Bruce Michael Miller, Christine Sweeney, and James Hearne, mostly because the originals posted on their YouTube pages and websites are just so damn good; as always, we encourage you, dear reader, to seek them out on your own.

A surprising number of those that did make our set feature collaboration with other artists – a generous sign, for those of us who prefer to experience our emerging artists again after hours, as they play the fields and pop-up venues into the wee hours of the festival dark with “house band” backup from the circle. Caroline Cotter, for example, a world-traveling singer-songwriter from Portland, Maine whose solo albums each focus around the folkway of a particular place, appears in trio form here, and we’ll have to wait until August to find out who, if anyone, she has brought to support her on the Falcon Ridge stage. And Letitia VanSant, a Baltimorean indie Americana artist whose sonic influences run the gamut from Hazel Dickens to Nine Simone, performs here in duet, channeling the two-voice original of a John Prine number with aplomb.

Fittingly, too, with a few notable exceptions – Mure’s cover, singer songwriter Lisa Bastoni newly-released Diane Cluck cover, which frames her return to the folkfold after a ten year hiatus, a sweet and soulful dustbowl take on Sean Brennan’s Texarkana from Monica Rizzio, a barnburner of a country bootstomper from Renee Wahl, CT-based band-man Shawn Taylor‘s grungy, bluesy folkrock Stephen Stills cover, and Mass College Of Liberal Arts student Izzy Heltai‘s gorgeous transformation of familiar O Brother Where Art Thou spiritual Down To The River – most of today’s songs find their origin in lo-fi YouTube performances, stageside captures, and other sundry non-studio sources, giving us some sense of what these artists might be like live – although intimate performance and bedroom vocals are but a teaser, and a misleading one at best, for the resonance of scalar sun and crowd that the field provides.

So listen to our artist-alphabetized list, as male folk duos Francis Luke Accord and country-and-bluegrass influenced Ryanhood take on Cat Stevens and The Beatles, respectively, turning in harmony performances that showcase their talents, while male-female pairing Ordinary Elephant comes through with an intimate banjo-and-guitar lakeside cover of I’ll Fly Away. Sit a spell, as Alice Howe strips down Sam Cooke for something delightful and sweet, and young solo artist Cubbage channels Ed Sheeran into subtlety. Enjoy, while Brooklynite Aly Tadros shocks us with an intimate unknown recorded in a tour room hotel, and countryfolk harmony trio No Good Sister challenge themselves in-studio to take on an obscurity from UK popsynth team Yaz, and come up roses.

And revel, overall, in the breadth and depth of folk, as the next generation takes the stage, and our hearts.



Falcon Ridge Folk Fest 2017: Emerging Artists Mix
—> download the mix!




lounge stage


Finally, though the Falcon Ridge Folk festival officially promotes itself as a Friday-to-Sunday affair, fest regulars know that there’s at least as much going on the day before. So be sure to hit Dodd’s Farm Thursday, August 3rd, for a local farmer’s market chock full of the best of the local bottled and corked, plus corn and dirt-grown sundries – and, of course, for the Lounge Stage, our very favorite festival-within-a-festival, which in past years has grown from an artist-collaborative production on the hill to a formal showcase that .

In addition to many acts mentioned either above or in our mainstage survey – including Abbie Gardner, Joe Crookston, Kirsten Maxwell, Bettman & Halpin, and emerging artists The End Of America, Heather Aubrey Lloyd, Alice Howe, Christine Sweeney, and Ryanhood – as shown above, the Lounge Stage 2017 will feature hosts and Lounge Stage co-founders Pesky J. Nixon, Kate Taylor of James-and-Livingston sibling fame, Americana up-and-comer Cassandra House, high-energy brother-led Long Island six-piece countryfolk band Quarter Horse, Boston bluesfolk stalwart Danielle Miraglia, long-standing Falcon Ridge house band member and folkscene sideman Radoslav Lorkovic, and fest faves Jesse Terry and Greg Klyma. Most artists will perform in the round with two others – offering a chance for collaboration and artist-to-artist showcasing, and nurturing a sense of intimacy and companionship that easily counterbalances the size of what it sure to be, once more, a spill-over crowd.

All in all, Thursday’s event promises ample reason to take the extra day off from work, and arrive to the proverbial hill on August 3rd relaxed and ready to enjoy the best that summer has to offer. Here’s our final mix, comprised of those artists whose appearance at The Lounge Stage will mark their sole “official” role at Falcon Ridge Folk Festival, though many will surely find their ways into the hills and campsites as the weekend stretches on. Enjoy it, and we’ll see you soon in the folkfields.



Falcon Ridge Folk Festival 2017: Lounge Stage Supplemental Mix
—>download the mix!

1 comment » | Emily Mure, Festival Coverfolk, New Artists Old Songs, Pesky J. Nixon

Festival Coverfolk: Falcon Ridge Folk Fest (Aug. 4-6)
Part 1 of 2: Mainstage, Workshop, and Dance Stage Artists, 2017


frffcamps


We’ve written so much about the Falcon Ridge Folk Festival since we began our journey here at Cover Lay Down, it seems almost trivial to try a new angle on the place we call our true home: the fields where my children have learned to ride their bikes, become potty trained, discovered and nurtured lifetime friendships, and fallen in love with the beloved, intentional community.

But perhaps that is as it should be. This will be our own 20th anniversary year helping build that beloved community. And maybe – just maybe – the fact that we’ve not missed a year in all that time says what it needs to about how Falcon Ridge feeds the soul, and rejuvenates the heart.

It’s not just one thing, either. It’s everything. The people, like family, spread out in tent streets and camper clusters across John Dodd’s beautiful hayfield, with its natural slopes and flats, and the lines of trees which bring shade in the heat of the afternoon. The vendor aisles, with their intimate pop-up singer-songwriter venues, clothing and crafts tents, and delicious homemade food vendors, from gypsy barbecue to smoothie stands. The work, of signpainting and fencebuilding, leadership training and joy-spreading, which serves the soul and the very existence of the festival as a tangible, well-organized thing. The night, with its rich abundance of laughter and campfire sounds, beckoning us home and back again, and making us feel welcome there.

And the music, of course. For although we come for the family, it is the music we stay for – that which sustains us, and justifies our presence, together in the communion of the field.

These days music at Falcon Ridge falls into tripartite form, with distinct talent pools and promise from mainstage/dance stage artists – many of whom also appear throughout the festival at workshop stages as well in sweet harmony and songsharing sessions – plus this year’s Emerging Artist talent pool, which performs Friday afternoon in a rapid-fire showcase, and performers booked for this year’s Lounge Stage, a “festival within a festival” with its own organizers and tastemasters which takes over the Dance Tent on Thursday before the main festival begins. (Artists from all groups will populate casual but pre-programmed late-night campsite sessions and pop-up venues, too – some of the best performances in the field happen under tents in the wee hours, as beloved artists take their turn in the eternal songcircle, fading in and out into the darkness beyond.)

And so, this week, in a two-part series, we dip into the primary pool, with covers where we can find them: an apt sample of the best Falcon Ridge has to offer, and – we hope – enough to bring you to dwell with us among the guitars, the greenery, and the grace. Enjoy, and perhaps we’ll see you there.



hqdefaultThe Falcon Ridge mainstage roster isn’t known for the big names of competitors like Clearwater or – God forbid – Newport; long-timers still talk about the year Ani DiFranco captured mainstage as a year where the crowds and campsites felt a little too big, and a little less safe. But that’s not the point of a festival like Falcon Ridge: those like us who have grown to love the communal celebration recognize it not as a name-brand showcase so much as an experience, in which the broad tent of modern folk music is spread before us in celebration, and honor that choice to remain close to the people, and to let the people remain close.

There are more than a few recognizable names on the line-up, of course – including Rani Arbo & daisy mayhem, whose Crossing the Bar has become a bluegrass standard and a cornerstone for hospice choirs, Greenwich Village-era standbys Rod MacDonald, David Massengill, and Eric Andersen, dobro-slinger Abbie Gardner of Red Molly fame, singer-songwriter Joe Crookston, whose Supertramp cooldown is a frequent flyer here at Cover Lay Down, returning contemporary folk supertrio Brother Sun, Contra tradfolk faves The Gaslight Tinkers, and of course, psychedelic folk rock weirdos The Slambovian Circus of Dreams, whose Friday night dance tent rave scene is not to be missed. (Missing, sadly, will be Jimmy LaFave, a beloved performer and songwriter originally booked to headline this year’s festival, whose passing we noted here a few weeks ago; in keeping with the folk-as-family approach, Saturday evening’s mainstage set will be shifted to a tribute, with artists from across the roster paying homage to his life’s work and legacy, and you better believe we’ll be on hand.)

But to say that this year’s mainstage and emerging artist platforms are otherwise heavy with novelty is no bad thing. We’ve discovered some amazing music at Falcon Ridge over the years, and seen many artists in their formative periods who went on to be big, indeed, from Darlingside to Dala, Shawn Colvin to Crooked Still, Lucy Wainwright Roche, and Parsonsfield.

We’re especially excited this year to encounter several artists for the very first time, including electric Celtic folkrock combo Tempest, The Adam Ezra Group, who reportedly does a great high-energy acoustic live version of I Wanna Dance With Somebody, and Upstate Rubdown, a brassy combo behind three brash and beautiful harmony voices that comes across in studio session recording like a lushly expanded incarnation of Lake Street Dive, leaving us heavy with don’t-miss promise. And we’re eager for the return of this year’s Most Wanted – Kirsten Maxwell, Bettman & Halpin, and Kipyn Martin, whose emerging artist showcase performances last year garnered top audience votes, earning them feature billing. (Low Lily, who placed first among equals in audience voting this year, will not appear, apparently due to another festival engagement; to honor them, we’ve included an exclusive cover recorded live at our own Unity House Concert Series this December in the mix below.)

In all, a comprehensive collection of singer-songwriters, acoustic bands, contra combos and genre-busting experimentalists who will hit mainstage this year, and we’re proud to present a covermix to celebrate them today. Listen, click through, and then come back later this week as we celebrate Thursday and Friday’s musical entertainment – including the Lounge Stage and this year’s Emerging Artist pool – in a single coverall post. Enjoy!


Falcon Ridge Folk Festival 2017: Mainstage Mix
—> download the mix!



Artist-friendly and ad-free since 2007, Cover Lay Down persists thanks to the kindness of strangers, artists, and friends. Sign up as a supporter today, and receive a giant sampler of great covertracks from 2015-2016 as our special gift!

1 comment » | Festival Coverfolk, Joe Crookston, Rani Arbo & daisy mayhem

Covered In Folk: Aretha Franklin
(Seminal songs from the Queen of Soul)


qui-incarnera-aretha-franklin-au-cinema_portrait_w532


My father’s record collection is split into two halves, each on its own side of the stereo cabinet: on one side, folk and Americana; on the other, blues and soul. But for most of my life, it’s been Memphis, Chicago, and New Orleans which leave the sleeve so often: Ray Charles, The Staples Singers, Marcia Ball…and the Queen of Soul herself, Aretha Franklin.

Legitimately born of a Memphis preacher man and an accomplished piano player and vocalist – all of which would find its way into her powerful gospel style – Aretha was an interpreter, not a songwriter. Listed first on Rolling Stone’s countdown of the greatest singers of all time, she released over 40 albums since her 1961 self-titled debut, and hit number one on the Billboard charts 20 times between 1967 (I Never Loved a Man (The Way I Love You)) and 1985 (Freeway of Love), even though the majority of the songs we most associate with her work were either originally penned for others in the genre, or performed by them first.

But the Queen of Soul earned her name by making these songs her own. Although song co-author Carole King’s Tapestry take on (You Make Me Feel Like A) Natural Woman is historical, it follows Franklin’s in both history and the pantheon. Her version of The Weight, released the year after The Band’s original, charted much higher in the US market, and helped sustain the song’s presence as a future soundtrack staple for films set in the sixties. Before it was hers, Until You Come Back To Me was recorded first by songwriter Stevie Wonder, though not released until afterwards. Sisters Are Doin’ It For Themselves was originally written by The Eurythmics as a duet with Tina Turner, who was unavailable. And perhaps most significantly, Respect – a pleading meditation on aspirational breadwinner masculinity in the hands of Otis Redding – became an anthem of empowerment in Aretha’s throat, thanks to the spelled-out chorus and genderbent lyrical approach; that her flourishes survive in essentially every cover known to humankind says all it needs to about her definitive success.

Appropriately, then, today’s set is a mixed bag: some classic, some transformed; some soulful, some stripped and broken. There’s country in here, as might be expected, given how much crossover already exists between the eminently American genres, but there’s also soft piano balladry, chamberfolk, contemporary popfolk and more, sourced from a hodgepodge of YouTube sessions and studio craft, as befits homage to a respected artist whose reach and influence have been so vast. And it’s all wonderful, in tribute to a true-blue queen still performing – and going strong – at 75. Enjoy.


Aretha Franklin, Covered In Folk [zip!]



Always ad-free and artist-centric, Cover Lay Down is fast approaching its tenth anniversary on the web thanks to the lovers, the dreamers, and YOU. Want to lend your support? Donate today and snag a set of exclusive covers from 2015-2016 as our thank-you gift!

Comment » | Aretha Franklin, Covered In Folk

New Artists, Old Songs: from bluegrass to indiefolk
with Man About A Horse, The Secret Sisters, Emily Maguire & more!




After a diverse exploration of new coverage from some of our favorite familiar voices earlier this week, our dig through the Spring-into-Summer mailbag continues today with yet another installment in our New Artists, Old Songs discovery series – a broad celebration of new and newfound artists taking on the songs of the ether around them. As always, we offer these by way of introduction, minded that one purpose of cover song is to provide a comfort zone in which to explore the novelty of folk otherwise unheard; our hope here at Cover Lay Down is that the songs and words will tickle and tempt you into pursuing the threads, to uncover and fall in love with the rich and ever-expanding panoply of emergent musicians and songs that continue to challenge and transform, comfort and afflict us all.

So read on for covers of Bright Eyes, Brandi Carlile, Jimmy Cliff, Sting, Pink, Nirvana, Dylan, Jay-Z, Paul Simon, Hall & Oates, the Gullah tradition and more – individually, a series of strong performances from every corner of the roots, Americana, bluegrass, and contemporary and traditional folkworld; collectively, a set that once again lays bare the vastness and variety of the tent that we call folk.

And then, if you can, pick a favorite or three, and use the links we provide to purchase and patronize – so the folkways, and those who create and recreate within them, may be sustained for generations to come.


twlWe start our journey through the newfound today on the folkcorner where high production meets acoustic altrock; listening to this Nirvana cover, it’s hard to believe that Long Beach, California’s This Wild Life is a duo, formed by two “outcast drummers” sprung from the punkworld, but heartening to discover that their tour upgrade package includes “intimate acoustic performance”, and promising to find that tour taking them through a huge set of sites both around North America and beyond, with Brazil, Chile, Argentina, Mexico and Australia in the upcoming months after sets from LA to DC. Though they’ve played the Warped Tour – a venue not exactly known for folk of any sort – originals from 2016 release Low Tides find easy comparison to cool alternative indiefolk bands like Darlingside and Beirut; what more could you ask for, on a sunny Summer’s day?



ssistersAlabama sibling duo The Secret Sisters recently appeared as one of very few unknowns on an otherwise star-studded song-by-song tribute to Brandi Carlile’s 2007 album The Story, released in May as a benefit for the War Child UK charity with tracks from Dolly Parton, Adele, The Avett Brothers, Old Crow Medicine Show, Shovels & Rope, Jim James, and more. Their track was one of the better ones, which says a lot, given that list of luminaries – and so, intrigued, off we went to discover more.

Happily, our timing is good. Tomorrow, real-life sisters Lydia and Laura Rogers, whose harmonies are most often and most easily compared to the Everly Brothers and First Aid Kit for good reason, release their third full-length You Don’t Own Me Anymore, a delightful slice of intimate-to-intense retro-Americana co-produced and with instruments and harmonies by Carlile and her longtime partners Tim and Phil Hanseroth. Though a little digging suggests the pair have already made a name for themselves in the country music world, the disc, which wanders from true-blue band-driven countryfolk to sultry, timeless, tight-yet-gentle backporch harmony tracks with nary a misstep, leaves us with no doubt they can hold their own among the best bombast and balladry of their mostly southern “new folk” compatriots.



emily-maguire-2017Indie English singer-songwriter and poet Emily Maguire played Glastonbury nine years ago, making her one of the most well-known artists we’ve likely ever featured here in our New Artists, Old Songs series. But here on this side of the pond, Emily’s a virtual unknown, and that’s a shame: after four albums of all originals, each one released on her own label with little fanfare, the stunning, dream-to-nightmare slur that she makes of this transformed Sandy Denny classic as a coda to her newly-released fifth – “a striking end to a haunting and sublime album”, according to independent folk-and-beyond music webzine Folk Radio UK, released in tandem with Notes From The North Pole, her second book of poems and soul-searching prose – is enough to make us dig back in time.



james-gillespie-portrait-300x300A slow, pulsing acoustic dreampop take on Top 40 Pink serves as a fine introduction to star-on-the-rise James Gillespie, whose press compares him to Ben Howard but may well fall more on the James Blunt/Justin Bieber side of the popline. No matter: stripped down soul from an acoustic base, echoing britpop vocal mannerisms, thumping handclap backbeat, and ringing electric guitar are this season’s guilty pleasure; though Gillespie is a true newcomer to the musicworld, with but a single original single out there, it’s stripped almost as dark, making prediction of things to come as easy as wanting more.



57716-RTbandPNGWay on the other side of the folktent, where traditions of various sorts meld and mingle, the sultry side of jazz and the Gullah traditions of the American South Island cultures combine marvelously in the work of new-formed roots quintet Ranky Tanky, a stunning South Carolina-educated jazz foursome plus gospel singer combo whose debut album drops in September (ours may well be an exclusive) and who will spend the preceding months on tour everywhere from Edinburgh to Telluride. The self-titled album is chock full of covers of traditional songs, but you’ve never heard ‘em like this before: described aptly by publicity materials as “bringing to light one of the most common but still overlooked forms of American folk music”, the product is bright and boisterous in turns, yet universally sparse and sweet and soulful, with trumpet brass, slow bass and subtle percussion bringing the songs of folk’s childhood forward with masterful maturity and a graceful tenderness.



rubygillLess a cover than a distillation of several songs – from Jay-Z, Notorious B.I.G., and Alicia Keys, respectively – performed with little more than lush and layered vocals and a looped acoustic guitar, this fine performance appeared in our mailbox way back in March, thanks to Melbourne-based pop experimentalist and “aspiring redhead” Ruby Gill, whose late-2016 full-length debut Older swarms with catchy, hook-laden noise and heavy beats and nothing folk at all, making both this track and Stockings For Skating, her recent, pensive single about “not wanting to adult today”, somewhat of an anomaly…but welcome ones, nonetheless.



bbcSpeaking of the hippest New York borough: Brooklyn Bluegrass Collective‘s summer of 2016 album is – as the title implies – a second pass at coverage from a loose organization of Brooklyn-based pickers and players determined to share the joys of the rich NYC Bluegrass scene through collaboration. We found them by pulling threads backwards from this delightfully hushed banjo-driven take on Bright Eyes’ alternative-turned-mainstream radio hit First Day Of My Life, which comes off as less simple than you thought, though equally heartfelt, in this new arrangement; continuing the threads back towards Volume 1 reveals homage to much more traditional bluegrass standards from the likes of Jimmy Martin and Larry Sparks, and a more traditional sound, suggesting a trajectory of modern ownership that honors the urban bluegrass movement and its wide influence quite well, indeed.



setadriftPercussive fingerstyle guitarists and singer-songwriters Daryl Kellie and Jon Hart’s late-Winter Pledgemusic campaign to release their recent work together has been either reduplicated or extended past its original deadline, and good thing, too: Set Adrift, the now-available-for-download collaboration which forms the raison d’etre for the campaign, turns out to be very much worth pursuit, for both concept and craft. Recorded over the course of five days on a houseboat on the River Thames, the originals and covers which populate the sessions yaw and pitch softly and gently like the river that spawned them, even as they echo the various British folk traditions which bore them there: this take on Sting’s exploration of place and identity is fun, but it isn’t the strongest cut on the album; head over to Pledgemusic to put your money down, and make their playful, pitch-perfect originals The Lock and High Tide, and their similarly exquisite version of instrumental Cannonball Rag, part of your summer soundtrack now. (Bonus points: this amazing take on Pink Floyd’s Money by Jon Hart is one of my favorite one-take YouTube videos ever.)



maahFinally, Philly bluegrass band Man About A Horse aren’t technically new to this blog; we featured their in-studio Beehive Productions take on traditional track Rollin’ In My Sweet Baby’s Arms in February as part of our Covered In Tradfolk round-up, though we didn’t say much about the group or its tidal emotional pull at the time. But their self-titled April release is a barnstormer of a full-length debut, an exceptional exemplar of the young grassband genre that rocks with wry, green energy from the very first original track…and takes on Hall and Oates and Radiohead along the way to great effect. Add in a track from their 2015 four-track EP, which also includes a wonderful cover of The Beatles’ All You Need Is Love, and you can hear why we’re excited to catch them live sometime soon.



Looking for more great music for your Summer soundtrack? Then stay tuned in the days ahead as Cover Lay Down continues its exploration of the modern folkways with a return to Falcon Ridge, our very favorite folkfestival, set to sparkle amidst New York farm country August 4-6, 2017!

Comment » | New Artists Old Songs

(Re)Covered: New Folk From Familiar Faces
Eef Barzelay, Red Molly, Rayna Gellert, The Sea The Sea, and more!

Yes, folk fans and coverlovers, we’re back in earnest after what has become a typically spare slide into Summer for a deep dig into the mailbox and social media sources that have accumulated over the past few months: a look at the recent work of artists we’ve celebrated here before today, and – later this week – a celebration of newcomers and new-to-us rising stars as they send forth their own coverage into the void.

Read on for new and noteworthy covers of Dylan, Creedence Clearwater Revival, Patty Griffin, Spin Doctors, the tradfolk canon, and a swansong performance from the dearly departed Jimmy LaFave. And, as always, if you like what you hear, click through to purchase from and support the musicians we feature, the better to guarantee the continued production and evolution of soul-touching music in a world too-often in need of its transformative power.


eef-barzelay1Regular readers know: we’re huge fans of prolific one-time Clem Snide frontman Eef Barzelay here at Cover Lay Down, featuring him back in 2011 with a mega-post on the artist’s journey, returning to him often for Best Of The Year mixtape standards from Jane’s Addiction to Elizabeth Cotten, Crowded House, The Shirelles and more. New two-track release Fan Chosen Covers (Songs We Hate), a shorter-than-average chapter an ongoing series of fan-selected favorites, offers a hazy, wistful and weary take on Breakfast At Tiffany’s that represents his best work as a lo-fi interpreter of the soul; the paired Spin Doctors cover takes a little longer to love, but it’s worth it for its playful, pensive rearrangement of a song stripped of its grief and anger.



redmollyFormed in the hills of our very favorite folk festival, Americana/Roots trio Red Molly worked their way from campfire trio to mainstage darlings via crowd support and collaboration, and that includes some from us, too. I once spent a memorable Sunday afternoon with bass-and-vocalist Laurie and fellow one-time mainstage maven Eliot Bronson under a tent with some cold beers, brainstorming songs for what would be the next Red Molly album before rushing towards mainstage for Falcon Ridge Folk Festival’s famous closing sing-along. And we’ve hosted Molly Venter and her husband Eben Pariser of Roosevelt Dime in our house concert series; I play Hold It All, the song she brought to the group in her first year, when I need to cry.

Most recently, we’ve contributed via Pledgemusic to the trio’s upcoming swan song set – a final Red Molly EP, and still in-process solo albums from each of the members currently active. And why not? We’re just suckers for fine three part harmonies here at Cover Lay Down – and for great covers, which run through the Red Molly recorded canon as a mighty river. And all pledgers, no matter what level, get the full set and setlist from a never-released two-set Red Molly show recorded right off the Freight & Salvage soundboard. Here’s a strong countrified contender for our 2017 Best Of The Year singles mix from One for All & All for One, that aforementioned EP, where two originals and equally potent covers of Lori McKenna, Cole Porter, and Julie Miller make for a sweet and worthy set overall – plus an older cover from Eben and Molly, just because we love it so.



theseax2Newly-expanded into a foursome for their upcoming tour, folk act The Sea The Sea – who we’ve also hosted in concert twice as a duo – deftly reinvents within the sparse, airy side of modern percussive indie-folk, as heard and shown exquisitely in this live-take springboard cover of Dylan/Nico standard I’ll Keep It With Mine – a wonderful addition to a growing canon of deep, sensitive, sentimental songcraft from the newly-married friends who form the core of the band. Bonus points here for a very old but beloved take on Chris Smither’s No Love Today from Chuck E Costa himself, back in his pre-Mira days, recorded from alongside the soundboard by yours truly as part and parcel of hosting duties; be sure to check their tour schedule, especially if you live and around the CT/MA/NY region, to see how far he’s come with his beloved at his side.

    The Sea The Sea: I’ll Keep It With Mine (orig. Bob Dylan)


    Chuck E Costa: No Love Today (orig. Chris Smither)



raynaOne-time Uncle Earl fiddle-player Rayna Gellert‘s 2012 release Old Light: Songs from my Childhood & Other Gone Worlds stunned us so much, we named it The Year’s Best Mostly Covers Album, citing “how effectively Gellert packages and presents a perfectly-balanced mix of the traditional and the newly-penned in her triple-threat role as arranger, lead performer, and producer” and calling it “so unified in its timelessness, it’s often hard to tell which are the old tunes, and which the new.”

Now after a few appearances here (most recently for a sweet one-take tradfolk video with Kristen Andreassen that featured in this year’s Best Coverfolk Videos), the Appalachian stringband-trained songstress is back with Workin’s Too Hard, a tender-to-tempest seven track album that came out in January and has been sitting happily on our backburner and in rotation ever since. Disc-closer I’m Bound For The Promised Land, one of a pair of traditional numbers on the small but precious collection, is an apt exemplar of both her sound and her old-meets-new sensibility: a barn-burner blur of electric and acoustic strings, supported by a brisk train-chugging brush-and-kickdrum and forefronted by a vocal holler perfect for the prose and presence.



ktferI was disappointed to miss seeing Katie Ferrara in person during our recent trip to California; the newcomer, who we first featured for her delightful cover of Jack Johnson’s Banana Pancakes in a flavorful mix shared during a spate of popsicle-making last July, busks and bar-hops regularly in and around her native LA, and broadcasts regularly from these venues, offering us an unusually clear and vibrant window into the evolving heart, soul, and work of a singer-songwriter on the rise as she refines her craft. This summer’s addition to her recorded output is a well-produced, subtly sensational, and eminently summery doozy of a Creedence cover, released just this week and easily sustaining our support; to offer yours, hit up a show or the usual social media spaces to download and purchase her convertible-top-down folk-pop powerhouse EP Dream Catcher.

    Katie Ferrara: Hey Tonight (orig. Creedence Clearwater Revival)



jlf-picFinally, in tribute: We first featured Texas/Oklahoma singer-songwriter stalwart Jimmy LaFave way back in January of 2012, celebrating his hoarse and tender way with a Dylan song, the Guthrie legacy, dustbowl peers Joe Ely and Townes Van Zandt, and more. At the time, we named our discovery a revelation “to the historically-grounded poetry and achingly vivid performance of… one of the most respected songwriters and interpreters in his field”; his take on Not Dark Yet, which we’ve reposted below alongside a favorite Jackson Browne cover released since that original round-up, remains in our top ten Dylan covers of all time, and I think you’ll hear why from the very first line.

Jimmy’s passing in May after a particularly short and poignant bout with cancer left behind a legacy of life and leavetaking covered exceptionally well by Lonestar Music Magazine in its most recent issue. His death is punctuated by much love from his peers in the crossover country/folk Red Dirt community and beyond, immeasurable sadness, a final tribute performance encore broadcast live on Facebook by fellow traveler Eliza Gilkyson that chills to the bone, and high hopes for an unusually powerful tribute set at this summer’s Falcon Ridge Folk Festival, where he was scheduled to headline; we’ll be sure to attend, and hope to see you there, too, in celebration of a live lived well in song and sadness.


    Jimmy LaFave and Friends: Goodnight Irene (orig. Lead Belly)



1 comment » | (Re)Covered, Clem Snide, Jimmy LaFave, Rayna Gellert, Red Molly, The Sea The Sea

Back to top