Category: Mark Erelli

(Re)Covered: New Coverage From Old Friends
Allysen Callery, Coty Hogue, Amber Rubarth, Reid Jamieson and more!

May 30th, 2016 — 3:36pm

Our ongoing (Re)Covered series finds us touting new and newly uncovered releases from folk, roots, bluegrass and acoustic artists previously celebrated here on Cover Lay Down. Today, we delve into the mailbag with news and new coverage from “new primitive” songwriter Allysen Callery, tradfolk reinventionist Coty Hogue, orchestral folk artist Amber Rubarth, Vancouver crooner Rein Jamieson, YouTube fave Juliana Richer Daily, and beloved local folksinger and friend Mark Erelli taking on REM, Lorde, Prince, Gordon Lightfoot, Fleetwood Mac, Leonard Cohen, The 1975, the Appalachian canon and more!

Allysen Callery – a self-taught New England rising star and fingerpicker whose website proudly and accurately describes her oeuvre as “quiet music for a loud world” – first popped up on our radar in 2013, thanks to a “haunting recast” of one-time Single Song Sunday standard Long Black Veil that offered apt comparison to the very best of Sandy Denny. Since then, Callery’s star has continued to rise as her canon grows; her delicate will-o-the-wisp reinventions have featured in two consecutive year’s end “Best Of” mixtapes, we shared her recent, perfect take on Marissa Nadler in February of this year as part of our celebration of Volume 3 of Red Line Roots’ Locals Covering Locals series; we loved her tiny, precious 2014 UK folk radio session, and we’re working to get her in for a Unity House Concert soon. New CD The Song the Songbird Sings, with its ringing echoes of the 60′s British psychedelic folk revival, offers perfect proof of why we’re so thrilled to hear more, with tightly crafted, elegantly performed originals and a stunning Gordon Lightfoot cover that holds us close with dark urgency in a frozen wasteland.

It’s been 4 years since we featured American roots singer-songwriter and banjo player Coty Hogue, a fave of Alice Gerrard and others in the neotrad countryfolk school, on the release of her live album When We Get To Shore, a mostly-covers-and-traditionals album performed in front of a studio audience with fellow Bellingham musicians Aaron Guest (vocals/guitar) and Kat Bula (fiddle/vocals); since then, she’s been pretty quiet, other than a few live-tracked solo YouTube releases well worth passing along. But Hogue is back with Flight, a brand new release featuring the same core trio of players plus guest appearances from Cover Lay Down fave bluegrass duo Molly Tuttle and John Mailander and IBMA multiple award winning bass player Missy Raines, and it’s a revelation, with intimate, lightly grassy takes on Fleetwood Mac and Lucinda Williams, a tight, joyous live sound, and a fine set of catchy, fluid compositions and arrangements perfect for a gentle morning pick-me-up porch session.

Though still primarily known in and around his native Vancouver, singer-songwriter Reid Jamieson is a frequent flyer here at Cover Lay Down thanks to a grinning, gorgeous way with the songs of others and an especially prolific penchant towards interpretation: he’s previously published an album of Elvis songs and dozens of single-shot coverage tracks; in 2011, we offered his tribute to the songs of 1969, recorded for his wife’s birthday, as a release-day exclusive.

Reido’s newest homage Dear Leonard: The Cohen Collection takes on the songs of Leonard Cohen lovingly and gleefully, and we’ve been stuck on it since it dropped in March. Like most of his work, it is deceptively light; the intros hit like Caribbean elevator music, and Reido’s husky tenor is sweet and plaintive as always. But there’s a huge diversity here, and something truly triumphant about the brightening of sound in songs like Suzanne, which tingles with robust steel drum rhythms and spousal harmonies, the driving countrified romp of Tower Of Song, and Hey That’s No Way To Say Goodbye, which gets turned on it’s ear, transforming the somber, pensive original into a bright and upbeat trainsong, chugging along light and lively with perfect layers of overdubbed harmony, gentle guitars and brushes. Elsewhere, ukes, brushes, and fiddle hold sway, adding flourishes and finishing touches to a sweet, sweet EP from somewhere under the sunniest of cowboy skies.

Screen Shot 2016-05-30 at 3.11.47 PMAmber Rubarth came to our attention via a 2011 collaboration with Threeds, an oboe trio whose mellow Little Feat cover still offers solace in our darkest days. Now, ten years into a career ready to explode, the award-winning small-town California-born, weary-yet-clear-voiced singer-songwriter comes back to us with Scribbled Folk Symphonies, a nuanced and richly orchestrated singer-songwriter’s tour de force, featuring apt and adept plucked string quartet urgencies under soaring-air vocals on REM standard Losing My Religion and self-effacing Elliott Smith fave I Didn’t Understand, and we’ve been hooked since its April release.

Rubarth is already crowdsourcing next album Wildflowers In The Graveyard, a slightly more conventional contemporary popfolk guitarslinger’s lyric-driven, high-production collection of songs written around the theme of renewal and ripe for a big autumn release; support it for previews and more. But first, check out her new covertracks plus* an older but no less warm and wonderful Carter Family cover below from Rubarth’s bandcamp sampler, and then purchase Scribbled Folk Symphonies to steep in an album that already stands as one of the great folk albums of 2016.

*tracks removed by label request

Though our recent 15-track tribute to Prince made no claim to comprehensiveness, it would be even harder now; since the artist’s passing last month, musicians from across the artistic genre map have come forth to pay their own tribute, and several new favorites have emerged – including a fine live take on signature song Purple Rain from prolific Boston-based singer-songwriter Mark Erelli, recorded at a recent album-release party at Club Passim, and released via his long-standing and always-worth-checking Mp3 of the Month series. Add in a previous month’s live take on Blake Mills’ Don’t Tell Our Friends About Me, and you can see why we’re such big fans of Erelli, whose sideman work with Lori McKenna and Paula Cole and continued work as both a solo artist and a member of newgrass supergroup Barnstar! continue to earn him duly deserved accolades on and beyond the coffeehouse circuit, and whose new, clear-as-a-bell album For A Song is currently sweeping the folk charts on the strength of its stunning countryfolk title track.

Finally, for the popfolk set: Upstate New Yorker and YouTube amateur Juliana Daily, whose versatile, sweet and intimate voice we’ve featured regularly on these pages, took top honors for Best Coverfolk Video Series in our 2015 round-up on the strength of a lovely set of living-room covers recorded in support of a Kickstarter album; here she is back again to prove her chops with an aching, wonderfully sparse one-guitar, multiple-voice take on an alt-rock tune-turned-ballad with Bryce Merritt that benefits from tight production, earnest performance, and a hint of whimsy.

Comment » | (Re)Covered, Allysen Callery, Amber Rubarth, Coty Hogue, Mark Erelli, Reid Jamieson

Kickstarter Covers, Vol. I: Milltowns
(Mark Erelli pays adept tribute to Bill Morrissey)

June 22nd, 2014 — 7:00pm

School’s out, the fireflies have returned, and the Oxycodone has finally faded from my system after a much-needed knee surgery, leaving us free and clear to begin filling pages again after months of apology. We’ll be back more regularly over the summer with news and new projects, tributes and songbook sets galore; today we dip our toes in the water with a clock-ticking palate-cleanser from one of our very favorite artists.

Happy 40th birthday weekend and kudos to well-travelled Boston-based folk musician and sideman extraordinaire Mark Erelli, who spent the last year recording Milltowns: A Tribute to Bill Morrissey, a warm, deep, surprisingly poignant tribute to a legendary singer-songwriter featuring multi-instrumentalist 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. After hearing Mark cover Bill several times over the last few years through bootlegs, live performances, and a single cover on The Memorial Hall Sessions album way back in 2002, we’re pleased but not so very surprised to declare the as-yet-unreleased Milltowns an unqualified success “born of love, respect and gratitude”, and an eloquent tribute to one of Erelli’s heroes and mentors – and proud, too, to urge support for the project via his Kickstarter page in the last few days of the campaign.

Regular readers may recall that we hold a special place in our hearts for Erelli, who recorded The Memorial Hall Sessions in our little town, and returned a decade later to grace us with our own little house concert; we’ve celebrated him several times on our pages (most recently for his double-dip coverage of Dawes), and have constantly been impressed by his work as a songwriter and performer. But this project is an especially potent venue for our fandom. The connection between Erelli and Morrissey is strong: Mark speaks eloquently of Morrissey’s mentorship on the road; both are known for their intimate portrayals of smalltown life in New England, and both have unusually strong connections to our favorite folk festival – Erelli as a one-time Falcon Ridge Folk Fest volunteer and main stage performer; Morrissey as a headline act from the very first year. And Morrissey is a long-time favorite, too – a Fast Folk alum who was a mainstay on the coffeehouse circuit until his death in 2011, with a catalog that is strong and worthy of the project.

The Milltown Kickstarter campaign hit its target yesterday, but extra funds are always needed to promote and distribute the album effectively – word of mouth only goes so far. So check out the project video above and a pair of older samples of Mark covering Bill below, head back in time to our 2011 feature on Mark Erelli, and then hit up the Milltowns project page to give what you can to support the record’s release, and receive an early digital download, plus the usual set of goodies, from signed records and back-catalog gems to copies of Bill Morrissey’s writings.

    TWO more Bill Morrissey covers from Mark Erelli’s mp3 of the Month series!

Comment » | (Re)Covered, Bill Morrissey, Kickstarter Covers, Mark Erelli, Tribute Albums, Tributes and Cover Compilations

Double Dippers, Vol. 1: Singer-songwriters visit & revisit
Dylan, Dawes, Guthrie, Springsteen, John Prine, and more!

June 1st, 2013 — 3:06pm


As the average promotional bio can attest, many singer-songwriters and folk artists find a spark in a small, select set of early influences; part of the process of learning to take on the mantle of your own artistry involves imitation of the formative experience. I imagine the process much like that of any fan with even a small modicum of skill on any instrument, wherein the urge to reproduce and channel prompts vocalization and handwork, first tentatively and, finally, with confidence, as we learn from the hidden masters on our stereo.

It’s not the only fount of coverage, of course. Mutual respect for an artist can just as easily prompt re-creation of the heard, so can discovery, rediscovery, or merely whim. Yet we assume that artists’ tribute clusters around a weighted crowd, with some small set of heavy hitters in the mix whose songs that artist knows by heart.

Recording those songs, however, is less often done. Towards the center of folk, formal recordings of covers trend towards the vast, not the narrow – I suppose because it risks too narrow an alliance between cover artist and originator to overcover – influence is one thing, but the curse of being “another Dylan” looms large next to its implied blessing.

And so, although we’ve seen some great single-artist tribute albums in the past few years, with the exception of a few major and prolific muso-cultural influencers – the songbook of AP Carter in the tradfolk crowd, for example, of Dylan and Guthrie in the straight-up folk camp, or of Bill Monroe, who arguably established and collated the sound that would become bluegrass, thus ensuring that his songs would be ever in the hands of those who would follow – it remains relatively rare for an artist to cover another in two different stages of their career. But it does happen, and when it does, the loss of the artistic variable of authorship makes such pairings a potent lens for exploring how an artist matures, evolves, or expands creatively.

Today, in the first of what we hope will be a multi-part exploration of such re-covered incidences and accidents, we take a deeper look at how and why through the lens of some favorite double dips.

    Though the LA folkrock band who wrote this pair did not form until 2009, as he notes on his website, thanks to a well-considered and newly committed relationship with the band, Mark Erelli has already taken on the Dawes songbook in two very different incarnations: as a member of gleeful-sound folkgrass quintet Barnstar! and this month, in a slow, mournful otherwise-unreleased home-studio take on Moon On The Water which strips the band’s work down to guitar, faint marching drums, slow fiddle strokes, and that inimitable voice layered in chorus. Erelli is no stranger to double coverage, having released several live Randy Newman covers, and multiple tributes to friend and mentor Bill Morrissey, through his long-standing Mp3 of the Month series.

    Many have covered Dylan multiple times, but Frazey Ford’s pair beats a full house: As a founding member of Vancouver-based femmefolk trio The Be Good Tanyas, Ford was featured on 2003 Chinatown cut In My Time Of Dying; seven years later, on her debut as a post-breakup solo act, her soulful influences shine through on One More Cup Of Coffee. The versions, both transformative, share much in the way of sound, with the ragged rhythms and urgency so typical of her work and theirs, and that incredible, fragile voice, but they’re couched so differently – one layered and lush Americana, one staggered and bouncy tradfolk – it’s hard to imagine them on the same album.

    Richard Shindell’s modus operandi shifted a bit between the 2001 concert that spawned live release Courier and South of Delia, the 2007 covers album that sparked this very blog, deepening into something more rich and layered and tinged with both indie rock and pop elements that come through loud and clear in the studio. Springsteen benefits from this major lift in both cases: the relative rawness of Shindell’s live 2001 full-band Fourth of July contrasts strongly with his deconstructed Born in the USA, making of the first the perfect plaintive love song, the second a complex treatise, and the perfect politicized anti-anthem.

    Like many prolific artists of various stripe, Lucy Kaplansky has covered the Beatles several times – and Steve Earle, Cliff Eberhardt, and Bill Morrissey more than once as well. But Kaplansky’s lead vocals on Eliza Gilkyson’s Sanctuary may well be my favorite cover song of the last few years – and a permanent fixture atop my personal hope-and-heartbreak mix, which reveals just why her power as a balladeer and portraiture painter is unparalleled in the eyes of father and son. Although only two years separate the release, the cover stands in strong contrast to her take on Gilkyson’s The Beauty Way, off new release Reunion, which shows the more contemporary folk sound that Kaplansky trends towards in her own solo work.

    Though Amos Lee‘s beautifully controlled blues vocalisms stand at odds to the truly broken tone of John Prine, his debt to Prine is audible in their comparably evisceral delivery. The slow, powerful yearning of lyric and line-reading Lee inherits are especially evident in Christmas In Prison, recorded for an XPN-broadcast Aimee Mann Christmas special in 2008 – the live setting reveals more rawness – while the gentle, understated pain in the studio recording of Speed of the Sound of Loneliness, a b-side from 2005 single Keep It Loose, Keep It Tight is more consistent with the sparse intimacy that first made me fall in love with his soulful voice.

    Old Crow Medicine Show is a crowd on the new tradfolk line, but they pay due tribute to their singer-songwriter influences. Their treatment of Guthrie is especially illuminating: the first, a fast, raw and raucous 2006 take on Union Maid that finds the band in full-bore political party mode; the second, a next-year take on Deportee which may well have been solicited for the Songs of America compilation on the strength of the former, but bares scant resemblance, as it meanders like a cowboy’s slow roadsong, pushing harmonies and concertina over the pick and strum.

Looking for further coverage from the folkworld? Join the Cover Lay Down facebook page for ongoing one-shot stream and video postings throughout the week, and keep an eye open for news of part 2 of our series in the next few, featuring Kasey Chambers covering Lucinda Williams, Josh Ritter covering John Prine, Red Molly covering Susan Werner, Shawn Colvin covering The Beatles, either Colvin or Ani DiFranco taking on the Greg Brown songbook (we still can’t decide!), and more double-dipping coverage histories. Also coming soon: our semi-annual fund drive, new coverage from the mailbag, a third house concert with local favorite Meg Hutchinson, and more!

1 comment » | Amos Lee, Be Good Tanyas, Double Dippers, Lucy Kaplansky, Mark Erelli, Old Crow Medicine Show, Richard Shindell

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