Cover Lay Down

British born and New York based alt-musician Teddy Thompson released Up Front and Down Low, an album of classic country covers, in July, and it says what it needs to about his underdog status that a) the disk has only been released in the US, and b) neither the blogosphere nor any other market seems to have noticed. Heck, I was startled to discover it myself as I researched today’s entry, and I spent an entire summer listening to nothing else but Thompson’s second album Separate Ways, a perfect, crackling masterpiece of self-pity topped off by a hidden Everly Brothers track.

One of several second-generation musicians emerging from under their parent’s wing to startle a new generation, Teddy Thompson has not yet managed to ring the bell of fame that fellow secondgen artist and bad influence Rufus Wainwright has. Nor has he found his audience, yet — being compared to Crowded House in one review and Jackson Browne and David Gray in another provides a pretty broad range. But if Thompson remains unknown, it’s not for lack of musicianship (though in the case of his newest outing, it may be because the country market is not his niche).

Thompson’s music is only folk in the broader sense, but his folk credentials are solid: son of old folkies Richard and Linda Thompson, born and raised in a Sufi commune, Thompson Jr. shares his mother’s sweet, clear, etherial voice, and his father’s penchant for bitter lyrics full of the seamy underside of fame and drug culture. The combination is powerful, and even if his guitar playing is still on the cusp of maturity, using his parents and peers in the studio has, so far, made up for that lack. I am confident that Thompson’s music will eventually win the hearts and minds of a full generation once he returns to his original songwriting.

In the meantime, here’s two songs Thompson covered for the 2006 Leonard Cohen tribute film I’m Your Man, where he stood out among some pretty heavy compatriots, including Wainwright himself. Tonight Will Be Fine comes especially recommended — something about the bittersweet lyrics and the slow pace suits him, I think.

• Teddy Thompson, Tonight Will Be Fine (orig. Cohen)
• Teddy Thompson, The Future (orig. Cohen)

Still haven’t heard Teddy’s newest album, but I’d buy enough copies of Separate Ways for all of you if I had the cash. Since I don’t, you should head over to his website and pick it up for yourselves — and if you get the new one, too, let me know how it turned out, will you?

Today’s bonus coversongs:

• Teddy Thompson and Rufus Wainwright cover King of the Road
• Teddy and Linda Thompson cover the Everly Brothers’ Take A Message To Mary
• Richard Thompson covers Squeeze’s Tempted (because I’m saving his Prince cover and his version of Oops! I Did It Again for another post)

You may not have heard of Patty Griffin. But if you’ve had your ear to the radio over the past decade, you’ve heard her songwriting: Griffin is one of those rare singer-songwriters whose songs are bigger than she is, and in her case, it’s a shame and a blessing. Ladies and Gentlemen, welcome to the bittersweet lot of the oft-covered and not-yet-famous. We call it Covered in Folk.

According to legend, the production on Patty Griffin‘s first album obscured her authentic sound so much that her label buried the studio tracks, remastered her demo, and released it pretty much as-is. The result, 1996 release Living With Ghosts, is a comprehensive masterpiece of raw folk power. The siren sounds of the city through her open apartment window only reinforce the realism inherent in the languid grit of her hard-driving guitar, and her hallmark seen-it-all wail.

But we’re not here today to talk about Patty’s breathy voice, or her rough, busker’s streetcorner sound. We’re here to talk about her songs.

Those who have seen Patty in concert agree: there’s nothing quite like the powerhouse Maine woods twang-and-wail to lay bare the bones of her earlier, darker lyrics of battered women and lost rural souls. But I’d rather have her songs channeled through other voices than let them languish in the A&M vault. And luckily, Griffin’s songs are so powerful as written, it’s a genuine joy to hear them handled well by others.

No performer in today’s market has benefitted more from Griffin’s songwriting than country sensations and anti-Bush badgirls the Dixie Chicks, whose three-part harmony and careful handling make the songs their own while retaining all the original power of lyric and melody. Today we offer three Patty Griffin covers, one from each of three different Chicks albums.

• Let Him Fly, off Dixie Chicks Fly
• Truth No. 2, off the Dixie Chicks Home
• Top Of The World, off the Dixie Chicks live album of the same name

The Dixie Chicks are great musicians in their own right, but now that you know the pen behind the music, put your credit where credit is due: pick up Patty Griffin’s Living with Ghosts, her stellar opus of smalltown loners 1000 Kisses, and the rest of the Griffin catalog at ecotunes, her preferred sales source.

Today’s bonus coversong bonanza:

• New folkfemme combo Red Molly covers Griffin’s Long Ride Home
• Alt-countrified Emmylou Harris covers Griffin’s One Big Love
• Covergirl chanteuse Maura O’Connell covers Griffins Poor Man’s House
• Patty Griffin covers Springsteen’s Stolen Car
• Patty Griffin covers John Hiatt’s Take It Down

The profitability of cover albums may be indirect for artists, but as a way to raise awareness, it’s a masterstroke. Way back when genres meant something, the internet hadn’t changed our music distribution models, and the Adult Alternative label hadn’t subsumed well-produced folk music, recording a cover album was a sneaky strategy for folk musicians to broaden the listener base and please the fans all at once.

Shawn Colvin‘s 1989 debut Steady On garnered her a Grammy for Best Contemporary Folk Album, and deservedly so: the combination of Colvin’s polished, slightly southern-twanged voice and co-writer and producer John Leventhal’s lush sound made for seminal work of modern folk, irresistible to those of us looking for the next Suzanne Vega. But Colvin’s sophomore Fat City was less well received — as with so many musicians who spend decades honing that first pressing, the gems were fewer for the second go-round. How to broaden and recover that fresh-faced folk appeal?

Enter Cover Girl, a 1994 album which primarily took covers from Colvin’s live recordings (a staple of the on-the-road folksinger) and added a few in-studio layers of bass and atmospheric noise. The end product required little studio time or rehearsal for Colvin; the strategy allowed her to remain in the public eye while she worked up her next album of original material, and it paid off in music and reputation, if not in actual sales.

Though one or two Cover Girl tracks suffer from overproduction — including, sadly, her cover of The Police’s Every Little Thing (He) Does Is Magic — the hit-to-miss ratio here is high. Colvin’s simple guitar and little-girl voice breathe new life into a wide swath of material, from bluesman Chris Smither’s Killing the Blues to Band b-side Twilight. Here, we hear her bring backroads innocence to one of two Tom Waits cuts, and her wistful, melodic take on a Talking Heads synthpop classic:

• Shawn Colvin, This Must Be The Place (Naive Melody) (orig. Talking Heads)
• Shawn Colvin, Looking For The Heart of Saturday Night (orig. Tom Waits)

Colvin appears not to sell her CDs direct from her website, so instead of directing you to buy today’s featured album via the artist, I’ll note that you can, and should, get Cover Girl for $7.69 at CDUniverse.

Today’s bonus covertracks:

• Colvin covers Simon and Garfunkel’s The Only Living Boy in New York (live)
• folkcombo Salamander Crossing try Colvin’s Shotgun Down The Avalanche
• Alison Krauss makes funky, fast bluegrass of Colvin’s I Don’t Know Why

Eliza Gilkyson has apparently been flying under the folk radar for quite some time now — her Wikipedia entry lists no birth date, guesses at her age, and is comprised entirely of a single sentence about her musical family connections and a list of her 15 studio albums over a 28 year career.

I must admit, it was a surprise for me to find Gilkyson so unwritten. If her regular appearance on folk collections is any indication, she’s well-respected as a solid voice within the folk community, appearing with names from ani to Shawn Colvin. Heck, someone who played a feature set at Falcon Ridge Folk Festival back when her 2000 cut “Hard Times In Babylon” was all over the folkwaves deserves more than a stub.

To be fair, her relatively recent rise in familiarity, if only within the apparently non-wikipedian folk community, is also due to her appearance on two cover albums — 2002 Greg Brown tribute Going Driftless and 2001 Dylan recast A Nod To Bob. The former is a masterpiece of the modern folk community; the latter is a generally solid all-folk tribute album to Dylan; both contain covers from a wide breadth of excellent folkies and singer-songwriters, and will surely come up again here on Cover Lay Down.

Gilkyson’s cuts on these albums are equally powerful, melodic, raw and twangy; though you can hear the weary age in her voice, there’s something plaintive, simple, even hopeful about her interpretations. But don’t take my word for it. Take an earful, and hear for yourself.

• Eliza Gilkyson, Love Minus Zero (orig. Dylan)
• Eliza Gilkyson, Sleeper (orig. Brown)

Her catalog is vast, and though I can’t claim to have heard it all, what I have heard is worth owning. I especially recommend Gilkyson’s penultimate album Paradise Hotel, which includes a wonderful cover of 80s one-hitter World Party’s Is It Like Today, and her 2000 Red House Records release Hard Times in Babylon, and not just for the title song. Get them direct from the label — Red House deserves your support. You can hear more Gilkyson on MySpace, too.

Today’s Bonus Coversongs:

• Gilkyson covers World Party’s Is It Like Today
• Greg Brown does Dylan’s Pledging My Time
• Shawn Colvin does Greg Brown’s Say a Little Prayer