Category: Red Molly

(Re)Covered: The Omnibus Edition
w/ Molly Tuttle, Red Molly, Nataly Dawn, Lucy Wainwright Roche & more!

November 7th, 2015 — 9:10am


We’re back in the saddle again after a long hiatus, and though the music archives are toast, the desktop is piled high with new covers from old favorites. And so we start anew with a feet-first installment of our perennial (Re)Covered series, which revisits previously featured artists through the lens of ongoing coverage: an omnibus of tasteful folk treatment of songs by Taylor Swift, Lorde, Bob Dylan, John Hartford, Radiohead, Led Zeppelin, Simon & Garfunkel, Cake and more that yaws wide from bluegrass to indiefolk, from tender to tempestuous, from the sharp and sassy to the sweet and sublime.

Bluegrass darling and recently crowned Flatpicker Magazine cover girl Molly Tuttle, who we first encountered on our way to the Joe Val Bluegrass Festival a few years ago, is still rising fast, as evidenced by both this sweet on-air video of the well-covered John Hartford classic Gentle On My Mind recorded for Music City Roots in mid-October, and public reception to her upcoming debut full-length, which has already topped 100% in its Pledgemusic campaign with over a hundred days left to go, and patronage gifts still available (We recommend the digital album and streaming concert combo package, a twenty dollar two-fer). She’s currently on tour down south with her band The Goodbye Girls, opening for The Milk Carton Kids; check ‘em out together now, because Tuttle won’t be an opening act for much longer.

Last featured via a pair of Gillian Welch covers in our fledgeling Double Dippers series in June of 2013, Americana/Roots folk trio Red Molly is technically on hiatus after a strong, gritty 2014 release, and subsequent tour, and a new baby born to member Molly Venter and her partner Eben Pariser of acoustic “steamboat soul” band Roosevelt Dime. But that didn’t stop them from dropping a new pay-as-you-will track just today, recorded live back in April: a beautiful, unusually rich harmony-drenched take on Caledonia, a song which we covered in a tribute to Dougie MacClean back in 2011. Our pro-artist bent here pushes us to link to, rather than post, the pay-as-you-will track, the better to support a living wage for the artists we love; here’s an overdue favorite from The Red Album in its easy stead.

Speaking of Bluegrass, and Joe Val: we’ve shared plenty from newgrass quintet the Infamous Stringdusters since discovering them in 2006, when they were asked to fill in for bluegrass supergroup The Grascals on the winter festival mainstage at the last minute, celebrating their well-chosen covers as they emerged, from Police classic Walking on the Moon to John Mayer’s 3×5. These days, though we’re still waiting for a studio version of their cover of Lorde’s pop hit Royals, we’re thrilled with their new EP Undercover, which – true to its title – offers a five-piece set of well-covered delights from Tom Petty, Pink Floyd, Johnny Cash and Bob Dylan, each one warm in tone, each one rich in masterful bluegrass instrumentalism. Check out the studio recording process for Don’t Think Twice, It’s Alright below.

This year’s Falcon Ridge Folk Fest came nigh in the midst of familial and technological chaos, leaving me unable to blog about it for the first time in ages. But the coverage lingers, thanks to hardy fans and the exquisite and cheerful board and recording skills of Scott Jones, who captures the performances at the pre-fest Lounge Stage – a fest within a fest hosted by the boys from Pesky J. Nixon, who incidentally have just wrapped up their own second covers album, fittingly titled Red Ducks 2.

Below, download frequent Falcon Ridge faves We’re About 9 taking on Radiohead under the big Lounge Stage tent, peep at Pesky J. Nixon’s mainstage take on Knockin’ on Heaven’s Door featuring Brother Sun and Susan Werner, and then stand back – way back – for the amazingly energetic Led Zeppelin coverset that closed the workshop stage this year, featuring rising star Matt Nakoa on vocals and psychedelic folk rockers The Grand Slambovians on everything else. We’ll have more coverage from the masterful Matt Nakoa later this week; for now, if you just can’t get enough, another great set of Pesky J. Nixon coverage and originals from their record release party last weekend is now available on the ‘tubes.

A wistful, innocent cover of one of my all-time favorite Cake songs? Count me in, thanks to Nataly Dawn, aka the female half of viral vid sensation Pomplamoose, who performs here with Lauren O’Connell under the moniker My Terrible Friend, and plans to keep doing so, thank god: the week-old track is subtle and stripped down, retaining the tender intimacy we cited when Pomplamoose’s Tribute To Famous People covers album tickled our fancy way back in 2010. Add a sultry, soulful cover of Wild Horses released just this weekend, featuring a duet with Nataly’s mom – a tribute to the hours they spent together harmonizing on the song in her childhood – and if you weren’t a fan before, you will be now; Follow Nataly to check out equally sultry recent coverage of Waters of March (with Carlos Cabrera), Billy Joel, and more, and to pick up more as they hit the tubes.

We’re huge fans of Lucy Wainwright Roche here, ever since featuring her early work in our very first Folk Family Feature on the Wainwright/Roche clan way back in 2007, and again in a Rising Stars (Re)Covered feature in 2010. But we’re especially eager to hear more of Songs in the Dark, the impending duet album from Lucy and sister Martha Wainwright, whose musical paths intersect less often, in part because Martha’s inheritance is more ribald, while Lucy’s is more attuned towards the rich harmonies of her mother’s side.

In keeping with the Wainwright, Roche, and McGarrigle families’ deep sense of how songs come to define us, the songs here matter much: carefully chosen to reflect the canon of songs sung to them as children, the list includes several children’s lullabies, as well as tracks by their mothers Kate McGarrigle and Suzzy Roche, and their shared father Loudon Wainwright III. And the combination is unexpectedly potent, echoey indiefolk for the most part: in this Simon and Garfunkel cover – the first release from the album – Martha’s heartier alto stabilizes the sound, while Lucy’s whisperier, lighter voice floats above thick layers of guitar and droning reeds and bass: a sultry temptress of a song, leaving us wanting more, more, more.

Finally: with over a million hits per track on YouTube alone, we’re clearly late to the party on Ryan Adams‘ full-album homage to Taylor Swift’s seminal 1989 album, but we’d be truly remiss if we didn’t acknowledge just how much the record has stuck in our ears. Adams, an early featured artist on the blog whose covers and songbook we last revisited as part of our semi-annual Carolina Coverfolk series, has an unusual knack for transforming songs from far-off genres; here, he brings the angst and emotional turmoil lurking under Swift’s pop hits to the forefront, and the result is a cohesive, magical set well worth the pursuit.

Bonus points for a tongue-in-cheek metacommentary cover from Father John Misty aka J. Tillman, who claims to be covering “the classic Ryan Adams album 1989″ in the style of The Velvet Underground (and pulls it off perfectly) in his sardonic take below.

3 comments » | Infamous Stringdusters, J. Tillman, Lucy Wainwright Roche, Molly Tuttle, Nataly Dawn, Red Molly, Ryan Adams

Double Dippers, Vol. 2: Singer-songwriters visit & revisit
Lucinda Williams, Gillian Welch, The Beatles, Paul Simon & Greg Brown!

June 20th, 2013 — 1:16pm


Welcome back to Cover Lay Down, where we remain in the midst of a short fund-raising drive to support the server costs and sundries which allow us to serve our core mission of connecting artists and fans like you. Thanks to an early surge of donors, we are now paid up through the next couple of months, but we’d rather not come to you with hat in hand so often; if you, too, appreciate the work we’re doing, and can find it in your heart to toss a few coins in the busker’s hat, we’d be eternally grateful.

On our end, as part of the rejuvenation efforts that we commit to each year as summer arrives, we’re picking up the pace with a set of new and favorite thematic approaches to the ethnographic exercise of tracking craft and culture through coverage. Our newest feature series finds us focusing on artists who pay tribute to favorite songwriters through coverage twice over, in two distinct phases of their careers. Previously, in our inaugural edition, we took the analytical lens to homage from Mark Erelli, Richard Shindell, Amos Lee, Lucy Kaplansky, and Old Crow Medicine Show; today, we find an all-female cast of Kasey Chambers, Shawn Colvin, Ani DiFranco, the Indigo Girls, and Red Molly exploring the works of their own peers and progenitors, revealing along the way the substance of their own artistic evolutions.

    We introduced Aussie alt-country firebrand Kasey Chambers through coverage way back in our first few months on the web via her tender, raw, tear-enducing take on Crowded House hit Better Be Home Soon. But Chamber’s penchant for coverage pre-dates our own: her wailing version of Lucinda Williams’ Changed The Locks may not come off as folk, but it has been a staple of her set since the turn of the century, and for good reason, as multiple live recordings can attest to. And the recording of Lucinda’s Just Wanted to See You So Bad from her early days with Chambers family band the Dead Ringer Band is delightful on its own merits, with a potent country beat and a lighthearted youthfulness of its own that’ll make you want to two-step.

    Red Molly – a trio formed in the wee-hour campfire hills of Falcon Ridge Folk Festival, and long celebrated by its membership – channel the fan coverage of the fields more than anything; in addition to a single-album Mark Erelli double-dip on 2011 release Light In The Sky, they’ve covered Gillian Welch four times on three albums, and Susan Werner twice again, making them easy pickings for our series. The retirement of founding member Carolann Solebello two years ago, and the subsequent addition of one-time opening act Molly Venter, was bittersweet, but it also marked a key moment in the band’s ongoing evolution from raw and real to pure and sweet; though it’s somewhat anomalous in a folk canon, it’s their a capella version of Dear Someone that best reveals the shift in blend, especially when put up against their earliest live harmonies.

    Singer-songwriter Shawn Colvin‘s move towards Adult Contemporary both before and since 1998 Song of the Year and Record of the Year Grammy wins for Sunny Came Home has taken her far from the tiny stage of Cambridge, MA folk club Passim where I first saw her in my high school days, and farther, still, from her origins in the Greenwich Village Fast Folk crowd alongside Suzanne Vega, John Gorka, Richard Shindell, Lucy Kaplansky, and others often touted on these virtual pages. Her two Beatles covers bear the scars and strengths of that journey; though in each case, the high production value and carefully nuanced vocals shine almost blindingly bright, the slow, layered minor-key atmospheres of I’ll Be Back stand in stark contrast with the melodic pop promise she revived for In My Life.

    If the point of this series is to show artistic evolution over time, then selecting two covers released in the same year seems anathema to our cause; better, perhaps, to try to justify Ani DiFranco’s Which Side Are You On as a cover of Pete Seeger greatest hit despite its origin in the union-supportive work of Florence Reece, and compare her 2011 title track with the less acoustically challenging tack she took in 1998 in covering My Name Is Lisa Kalvelage, another of Seeger’s political anthems, on a two-disc tribute to the godfather of participatory sing-along banjofolk. But the equally politicized Ani DiFranco has long embraced her folk roots, and hearing Ani live has always been a wholly different experience from hearing her studio work: though it’s rarer, today, to hear the edgy folkrock sharpness she brought to her earlier albums, we still get the same little girl wryness, with the slow ebb and flow of rhythmic elements making way for something more fluid and experimental, perhaps even less stable, on stage, as in the 2002 DVD release cut above. That Greg Brown himself is known for the wink-and-nod approach makes his songbook and her performance a perfect pairing, too.

    Amy Ray and Emily Saliers met in elementary school, started playing together in high school, and took the name Indigo Girls while attending Emory University together in the eighties; given their shared history, it would be odd indeed if their influences did not overlap significantly. But their choices of song are especially notable here in exploring the nuanced revelations of the double-dip: though the later coverage calls back to Simon’s youthful duo work on the fringes of his own early pop experimentation, its high production, cheerfully upbeat tone, and driving folk-pop momentum aptly represent the duo’s later turn towards the celebratory in sound and sentiment, standing in strong contrast to the hoarse, stripped-down suffering that so characterized their early work.

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Comment » | Ani DiFranco, Double Dippers, Indigo Girls, Kasey Chambers, Red Molly, Shawn Colvin

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