Search results for ‘dylan’
Last October, when I wrote about my struggle to recenter family and fatherhood as my older daughter encountered a newly diagnosed auto-immune disorder (Everybody Hurts: On discovering a child’s illness), many of you wrote in to lend support and solace, and I am grateful for the grace, ever thankful for the voices you bring to this kitchen-table community.
Fast forward one year, though, and the weight has not been lifted so easily. The elderchild still struggles with balance, losing sleep and schooldays to a complex web of pain real and projected. And it’s hard: hard to watch her struggle; hard not to become inured to the stress and strain the constant ache brings to our hearth and home; hard to like her, on the days when she lets the pain get to her better self.
And then there is her sister, who has captured her disease, and our attention.
At nine years old, the wee one is sensitive to others in ways her sister isn’t. And so, where the elderchild complains loudly of her stomach, her little sister is more likely to hide the pain from us so as not to call attention to herself. It took months to diagnose her; it may take years before she is truly comfortable leaving the classroom in pain or need.
Having two sick children is a million miles from having one sick child. Juggling needs is a new stressor, and it is starting to require both parents, keeping us from supporting each other by taking turns.
And two compounds one. They resent the other’s illness, and the attention it brings. Our home is rife and rotten with one-upmanship, jealousy and mistrust growing between the girls, born of pain, and the constant competition to be taken care of. Those last six days in the hospital were an amusement park of chaos, compounded by steroid rage, endless insurance company appeals, the exhaustion of shuttling between two bedsides, and the long agony of waiting for tests and trials.
Driving away from the hospital that evening without them was the hardest thing I have done in a year or more.
Normal isn’t normal anymore.
But there are moments where pride can still be found.
Three weeks ago, on the cusp of diagnosis, the wee one was scheduled for an MRI; I went to work; my wife was planning to take her into Boston after dropping the elderchild off at school. Just before noon, though, things changed, and I got the call: the elderchild was experiencing a sharp and unexplained pain that might be appendicitis; both children needed to go in, but in different directions; we would need both adults there, though both would prefer Mama and could be heard fighting about it in the background, and it would take a good half an hour to arrange sub coverage in my classroom.
The next several hours passed in a whirlwind: the interminably long ninety minute drive, the panicked search for the right room in an unfamiliar wing of a hospital constantly under construction. The pain-hobbled elderchild and I went off to meet with a frazzled specialist already trying to manage tests and find nurses for her sister; my wife stayed with the wee one, who had thrown up every time they tried to get her to drink the fluids for the MRI; one more try, and they were going to put in a feeding tube.
Doctors came in; doctors came out. Mostly, we waited, and wondered what was happening to her sister. And then suddenly, unexpectedly, on our way back from the bathroom, there she was, small and sad beside her mother and the doctor, emerging from a side room, a long yellow tube snaking out of her nose.
Something smashed to pieces in all of us. I could see it in my wife’s eyes, there at the other end of the hall; I could feel it in my heart. But only the elderchild acted, taking her hand out of mine, screaming her sister’s name across the medicine and pain, running to hug and comfort her, crying and broken.
And we pulled them away, because the doctor said “no crying, remember, we talked about this”. And I pulled the elderchild into the same room that they had just left, and her sister and her mother and the Doctor were gone.
And there I was in a tiny room with a broken heart and a child shaking with rage at the injustices of her sister’s treatment, an hour lost to calm words and stories and the slow dampening of the emotional furnace, the Boston skyline the only distraction, our voices our only distractor.
So often at home we see only the worst of them: the jostling for space, the frustration of pain. That Friday she was angry, but it was born of love, fierce and unexpected after a year of push and pull, of distance and shadows. Last week they were cellmates; now they are home, though with a calendar full of medical appointments, too-often shortened days at school, and with all other things tentative, ready to be dropped at a moment’s notice if the pain gets too great.
But last night we went out without them, and it felt safe to leave them home, playing with their new sewing kit quietly on the kitchen table. Today they are at the mall with their mother, chattering excitedly about their Halloween plans while they help each other try on thrift shop costumes. And every once in a while, for no reason at all, the elderchild hugs her sister tight, embarrassing her, and in their interplay I see the crushing love I feel for them as if my children had become a mirror for my most secret and unexplainable self.
How heartbreaking to see such stubborn, violent love emerge in the strangest of places. How powerful to see them learn the things we thought we needed to give.
How fiercely we protect each other. How it hurts to love you so.
Oh, my brave, proud children, may you, too, learn to channel your anger into love.
SONGS FOR OUR CHILDREN: A COVERFOLK MIX [zip!]
- Gilkyson, Gorka, Kaplansky, Lynn Miles, Guy Davis, The Wailin’ Jennys: Nothing But A Child (orig. Steve Earle) 
- kk: Sweet Child of Mine (orig. Guns & Roses) [2006; unknown source]
Unity House Concerts presents: Meg Hutchinson
September 28th, 2014 — 03:29 pm
(October 18, 2014 @ UU Society of Greater Springfield)
Cover Lay Down is proud to announce Unity House Concerts, a new folk-and-more music series hosted by yours truly and the Unitarian Universalist Society of Greater Springfield. Concerts will be held roughly two Saturdays a season in our own wooded sanctuary, and will feature a combination of well-beloved musicians and new folk voices committed to the UU Coffeehouse tradition of channeling the spirit of community through song.
This year we are excited to present a set of award-winning musicians from the Northeast, including Jean Rohe, Jay Mankita, The Gaslight Tinkers, and our first show of the season with Red House Records recording artist Meg Hutchinson on October 18th.
We originally went to Meg Hutchinson for healing, in the wake of a tornado that ravaged our rural New England town in 2011. Since then, after a great run that featured Mark Erelli, Mike + Ruthy, Danny Schmidt, The Sea The Sea, and more, the converted carriage house in which we hosted Meg has gone dark – but her songbook still resonates, making her an easy choice to kick off our new coffeehouse series in style.
Long lauded by critics and fans, Boston-based, Berkshires-born contemporary acoustic singer-songwriter Meg delivers music as powerful as it is gentle. A master of the introspective ballad, her albums have made the top 10 on US folk radio, and won her numerous songwriting awards in the US, Ireland and UK, including the John Lennon Songwriting Competition, the Billboard Song Contest and prestigious competitions at Merlefest, NewSong, Kerrville, and Falcon Ridge Folk Festival. And her seasonal tour with Antje Duvekot, Anne Heaton, and Natalia Zukerman as Winterbloom has become a don’t-miss staple of the local scene.
Equally at home on piano or guitar, Meg’s pure alto is a potent carrier for her mood and message. Her influences include poet Mary Oliver, songwriters Greg Brown, Shawn Colvin, and Joni Mitchell, and mood maker David Gray, but her voice is all her own, with songs that yearn for inner peace, at once ecstatic and meditative, crafted around elegant and free-floating melodies that feel both modern and rooted. Her most recent album, Beyond That (2013), practically aches with songs – about coming home, transforming desire, and opening the heart for some greater purpose.
We are thrilled to have Meg Hutchinson opening our newest musical venture, setting the stage for what promises to be a vibrant, new, community-centered program at the UUSGS, and invite you to join us, too, if you’re local to Springfield, MA (just 30-40 minutes from Hartford and Northampton). To tempt and to celebrate, here’s a few favorite covers by Meg – including a gorgeous duet with frequent touring companion Antje Duvekot and a very special Townes Van Zandt cover recorded at her first of two visits to our previous house concert series.
- Meg Hutchinson: If I Needed You (orig. Townes Van Zandt)
[live from A Tree House Productions house concert, June 2011)
- Winterbloom: Rexroth's Daughter (orig. Greg Brown)
- Winterbloom: O Holy Night (trad.)
[from Winterbloom: Winter Traditions, 2009]
Antje Duvekot w/ Meg Hutchinson: Gypsy Life (orig. John Gorka)
Edie Carey and Meg Hutchinson: Falling Slowly (orig. Glen Hansard)
Banned Books Week: September 21-27, 2014
September 27th, 2014 — 09:44 am
(songs by John Denver, Elvis Costello, Nick Lowe, Kris Delmhorst & more!)
Before I discovered music, books were my salvation: a haven from the real world, where stories always resolved and heroes always played to type, except when they didn’t. And I still read voraciously, in long and shortform, genre fiction and non-fiction, though not so much as in middle school, when I would crouch secretive and sly on the carpet of my bedroom, squinting into the spellbound page by the light of the crack in the door.
My relationship with literature has diminished, albeit slightly. But it has also shifted quite a bit. For one thing, the words we read in the 21st century zip through space in memes and moments, making anything more than a skim and dash precious and rare. And although librarians have long held my deepest respect, now they are among my most valuable coworkers: the young guy with the hipster checks and the everpresent Starbucks cup who joined our school last year is my kind of guy, a true friend in a sea of stress, and I trust him intimately as a keeper of the words we cherish, watching as the graphic novel section under his thumb grows to take over the library like kudzu, and the students alongside.
Books are part and parcel of my livelihood, too. I got my start as a media specialist, working hand in hand with the library staff; I’ve weeded entire libraries down to nothing, and served my hours at the reference desk; I even spoke at the New England Association of School Librarians annual conference one year. I teach Communications, and media, and include the printed word as part and parcel of the new media package we explore; I teach English, too, some years, which means literature and language, and delving deep into more than a few of the books on the “perennially banned” list kept by the American Library Association, including 1984, Lord of the Flies, I Know Why The Caged Bird Sings, and Sherman Alexi’s magnificent coming-of-age story The Absolutely True Diary of a Part-Time Indian.
These titles are on the tip of my tongue today: it’s the last day of Banned Books Week, in which librarians, bookstores, publishers and readers around the world celebrate the printed word, and take a yearly stand for access to all, free from the bars of censorship and obscuration. So here’s a mixtape with a topical theme to honor the week gone by; interested literature buffs are also invited to check out our older Covered in Folk features Songs Inspired By Literature and Songs Inspired By Shakespeare.
I Write The Book: A Cover Lay Down Mixtape[zip!]
- Rose Polenzani & Rose Cousins: The Book Of Love (orig. The Magnetic Fields)
- Sarah Jarosz: The Book of Right On (orig. Joanna Newsom)
- Alison Brown: Everyday I Write The Book (orig. Elvis Costello)
- Unsinkable Boxer: When I Write The Book (orig. Nick Lowe)
- Treva Blomquist: I Write The Book (orig. Patty Griffin)
- Tom Corwin & Tim Hockenberry: My Back Pages (orig. Bob Dylan)
- Amy Black: Words Fail You (orig. Kris Delmhorst)
- Ani DiFranco: The Poet Game (orig. Greg Brown)
- Dawn McCarthy And Bonnie ‘Prince’ Billy: Poems and Prayers and Promises (orig. John Denver)
Cover Lay Down posts regularly with songs and summations at the intersection of coversongs and the folkways thanks to the generous support of readers like you. Coming soon: new cover EPs and LPs from labels and artists near and far, and a very special feature on a brand new concert series hosted by yours truly!
We’re off for our annual pilgrimage to Falcon Ridge Folk Festival from now until August 4: ten precious days camping, volunteering, and frolicking with friends and family in our mutual home away from home, the best, most comfortable arts-and-music-driven intentional community we’ve ever found.
As we noted in our earlier feature on this year’s Fest, the artists roster this year is excellent, with Aoife O’Donovan, The Duhks, Roosevelt Dime, Brother Sun, The Grand Slambovians, and more on our don’t miss list; since then, the artist-run Lounge Stage – a pre-fest stage hosted by the boys from Pesky J. Nixon on July 31 from 5-11 – has announced a number of great acts we’re excited to see up close, from Spuyten Duyvil, John Gorka, Cheryl Wheeler and Darlingside to RJ Cowdrey and Caitlin Canty, while Budgiedome has added Cover Lay Down fave Kristin Andreassen and Connor Garvey to their latenight post-stage schedule for Friday. Maybe we’ll see you there.
Our absence also means yet another slight hiatus here at the blog, of course. Campsite rules enforce a no-phones policy for good reason. After 17 consecutive festivals, our time in the fields each year is not just a sybaritic pleasure, it’s also a necessary trial. Being fully present there (and fully absent here) clears the head for another school year, and it sends us back bubbling with life and rejuvenated joy at the state of folk music.
But we’d not leave you emptyhanded. Instead, today, a leavetaking in coverfolk: a slow, lazy mix tape of goings and goodbyes, from sorrowful lament to the hopeful promise of return. As always, if you like what you hear, click on the links beside each track to follow the artists you love to the fields and the forests of your minds and hearts.
Goodbye, Farewell: A Coverfolk Mixtape [zip!]
- Michael Kiwanuka: Hey That’s No Way To Say Goodbye (orig. Leonard Cohen) 
- Shawn Colvin: You’re Gonna Make Me Lonesome When You Go (orig. Bob Dylan) 
Always ad-free and artist-centric, Cover Lay Down features the best covers of and from the folkworld throughout the year thanks to the kindness of readers like you. Click here to help support our continuing mission.
My plans to zip over to my wife’s workplace with flowers and lunch for a Valentine’s Day surprise were overtaken by a double snow day this year, turning what might have been a romantic moment into a promise unfulfilled, leaving me without a single heart to offer save my own.
Happily, true love doesn’t fade so fast, nor does it depend on any particular trinket. Love is in every moment, if you know where to look, and choose to embrace it, and be grateful.
Every morning as I leave for work, I kiss my wife, and speak love into her day before she wakes. Every night, in the darkness, I whisper my love to her as she sleeps warm beside me. Every day I thank the universe that after over half a lifetime together, there’s still beauty and love in my life.
In her honor, then, and yours: a set of coverfolk love songs released in the last year or two, followed by links back to five mixtapes and features from our Valentine’s Days past. For love is in all ways complicated, always forever and ever new. May you find comfort and hope here, and everywhere, on this most romantic of days, and every day that follows.
Valentine’s Day Present [download here!]
- Renee & Jeremy: Love (orig. John Lennon)
- Lissa Schneckenburger: Tunnel of Love (orig. Dire Straits)
- Scott Matthew: To Love Somebody (orig. Bee Gees)
- Raveena Aurora: Somebody Loved (orig. The Weepies)
- Red Tail Ring: My Heart’s Own Love (orig. Hazel Dickens)
- Elizabeth Mitchell: May This Be Love (orig. Jimi Hendrix)
- Marissa Nadler: The Book Of Love (orig. Magnetic Fields)
- ortoPilot: Make You Feel My Love (orig. Bob Dylan)
- Fiction Family: Friday I’m In Love (orig. The Cure)
- Nell Robinson: Can’t Help Falling In Love (orig. Elvis Presley)
- Session Americana w/ Laura Cortese: Love Changes Everything (orig. Amy Correia)
- The Quiet American: True Love Will Find You In The End (orig. Daniel Johnson)
Valentine’s Days Past
To be a public school teacher in the new millennium is to be under constant scrutiny, both as a self-critic and from outside. Though the true outcomes of great teaching are essentially unmeasurable, new state-mandated evaluations pick at the edges of sheer competency and compliance by attempting to measure that which can be collected or seen.
The result is a doubling-down of stress and time, with so many hours per day given over to documentation and meetings that our time planning for and delivering instruction becomes threatened. Gone, it seems, is the teachable moment; gone, too, is the depth that brings love and true understanding: if a lesson cannot stand on its own, look like it was supposed to on paper, and correspond directly to at least one question on the state-written test that follows, the black mark will haunt forevermore.
In response, teachers are leaving the profession in droves: hardly a week goes by without yet another teacher’s early retirement condemnation going viral. In my own school, almost a fifth of our faculty has disappeared for warmer, more friendly climates since the school year began. The rest of us live in constant fear, frayed at the edges and cut to the core: too overwhelmed to do anything well, and constantly concerned that we have missed something that might make or break our careers.
But I am young enough to think I am invincible, or at least, unwilling to go without a fight. And so, despite my insistence that excellence should be evident in any moment, I found myself overthinking this Wednesday’s planned observation. And because I am ever the iconoclast, at my best on the edge, I planned something fun, if risky: a lesson on how poets use questions to call attention to the limitations of understanding, starting with Shakespeare’s Shall I Compare Thee To A Summer’s Day, and concluding with an activity analyzing Langston Hughes’ A Dream Deferred.
For students who have failed, and are failing. Who come to school sometimes, entering two thirds of the way into class with a swagger and a yell that distracts and disrupts, or stay home because it is too cold, or they missed the bus again. Who have been sullen, and distracted. Who have watched a score of of their classmates drop out, or just stop coming, until we hardy few – the three or four or six who show up most days – find ourselves leaning over a common table, pulling out our hair, putting away the phones over and over again, dancing around the truth as the hourglass sand threatens to drown us all.
I talk a good game in the hallways about how the new evaluation tool we use in my district: about how the tool is sound, but an inconsistent and aggressively biased application of it is a major focal point of the terror and frustration we feel as teachers. But it is also true that the threat of observation can prompt a healthy, deliberate attention to detail and self-reflection, a sort of critical, vocational soul searching which, when it works, can push us to be our best. It is a social scientist’s Heisenberg principle, in which the act of being observed changes the subject, using pressure to turn coal into diamond.
Over the last week, as I began to pay more precise attention to my practice in the class, and as our population has finally become stable, there was a change in the air. Sure, the kids and I still fought to stay on task, an activity more like wrangling cats than truly teaching. But they started asking questions in ways that reveal minds turning over, about my relationship to poetry, and about the poems themselves. And the shift towards poems that share their language and cultural lineage – of Pablo Neruda, and Martin Espada – seemed to prompt the beginnings of ownership, as if knowing that poets spoke their languages, too, was a key to the magic that evaluation tools call “student-centered learning”.
And when it works, it really works.
Yesterday, the stars aligned.
Four students showed up on time, or close to it, and to begin with, became poets, finding distinction in writing and sharing our own little poems, before moving on to the small set of poems I had chosen for their question marks and little else, making for a treasure hunt for tone and literal meaning that was more engaging than usual.
Two more arrived, and their timing was perfect, for once – in transition between idea and poem exemplar, so that they could find themselves quickly. They read poems proudly, and found brave comfort in their ability to make metaphor come alive, vivid in their heads.
And then, the six of them found recognition in critical analysis of Langston Hughes’ A Dream Deferred. They remembered that Hughes was plainspoken, and frustrated with racial identity in 1930s Harlem, and looked for that meaning in the similes of the poem; they embraced the ambiguity of figurative language, and thought about dreams, and raisins dying black in the sun.
And the poem came alive for them, unlocking its secrets. And they said so, and smiled, and showed us, me and the administrators lurking in the background, that they could articulate – haltingly at first, and then with more confidence – how, and why, and where.
And the bell rang. And I thanked them, and collected their work.
And sat, stunned, while the administrators slipped out, and my next class came in, catcalling and chaotic, ready to learn.
And then, afterwards, the one who sometimes comes, and cannot focus, and uses his big unassuming grin to avoid learning, found me in the hallway during lunch, and proudly showed me the thick book of Countee Cullen poems he had found in the library, and asked if I could give him a note to get back in to find more.
And later, he brought his friend, the Latino boxer, the one who refused to put pen to paper from September to December, and sat with his arms crossed or on his phone, and spun in his chair, defiant, though he knew how to see the meaning behind the words better than anyone in the class. And he said Mister, the library doesn’t have that Neruda book you talked about last week, but they did have this other one, and it’s really cool, it’s got the spanish on one side and the english on the other, and I promised I would find him more.
Your kids really understand poetry, said my evaluator when I passed her in the hallway at the end of the day.
And in my heart, I became the teacher I always wanted to be.
Now it is Thursday, a snow day. I sit on the porch in the cold and think about poetry, and words; the way literature can bring us together, and the way it can kindle the heart. Because I could not stand it, I stopped teaching from fear, and started teaching from love. In response, my 6 little irregulars finally discovered what literature is for, and why it is so much a part of being alive. And though we will need to work to keep them in this place of love, I think – for one shining hour – it made them students, in the true sense of the word, pleased to question, and find answers, and pleased, too, with their ability to do so.
As always, steeping too long in work has left me in too deep to move on quickly. My head swims still with questions, because of how deeply we considered them in our poems and analyses, because we were able to come to the higher order ones together. And I find myself pondering the world, and my place in it, after a day where everything went right, in a place where for so long I have been neither free nor safe.
And so we turn to the question as theme. And why not? As a rhetorical device, the question is broad, both in expression and purpose: it can show us ambiguity, or reveal depth and detail; it can call attention to mystery or meaning; it can reverse, or reinforce, even as it closes the gap between author and text.
And as it is in poetry, so is it in song. The selections we present below in this weekend’s coverfolk mix run the gamut from the rhetorical to the genuinely curious, from plaintive to pensive, from reflective to redirective. But all empower the listener to seek answers that may not always be clear, or even present. All offer new insights and understanding, that we may be who we are, at our best, by knowing the world. All remind us that questions are nothing to fear, but something to embrace, a natural consequence of being alive, and engaged.
May wonders never cease.
- 20 QUESTIONS: A COVERFOLK MIX [zip!]
- Kate Rusby: Who Knows Where The Time Goes? (orig. Sandy Denny) 
- The Pines: What Good Am I? (orig. Bob Dylan) 
- Trampled By Turtles: Where Is My Mind? (orig. The Pixies) 
- Ron Sexsmith: Where Is My Everything? (orig. Nick Lowe) 
- Red Molly: Why Should I Cry? (orig. Mark Erelli) 
- Thomasina: How Can I Keep From Singing? (trad.) 
- Charlie Parr: Who Will Deliver Poor Me? (trad.) 
- Martin Simpson: Brother, Can You Spare A Dime? (trad.) 
- Pat Wictor: What Are They Doing In Heaven Today? (trad.) 
- Billie Joe + Norah: Who’s Gonna Shoe Your Pretty Little Feet? (trad.) 
- Sarah Harmer: Will He Be Waiting For Me? (orig. Dolly Parton) 
- Natalie Merchant: Which Side Are You On? (orig. Florence Reese) 
- Crooked Still: Baby, What’s Wrong With You? (orig. Mississippi John Hurt) 
- Juju Stulbach: Have You Ever Seen The Rain? (orig. Creedence Clearwater Revival) 
- Van Walker & Liz Stringer: Are You The One That I’ve Been Waiting For? (orig. Nick Cave) 
- Shovels & Rope: (What’s So Funny ’bout) Peace Love and Understanding? (orig. Brinsley Schwarz) 
- The Wrights: Where Were You When The World Stopped Turning? (orig. Alan Jackson) 
- The Bird And The Bee: How Deep Is Your Love? (orig. Bee Gees) 
- Ben Taylor: How Can I Tell You? (orig. Cat Stevens) 
- Eliza Gilkyson: Is It Like Today? (orig. World Party) 
The passing last week of seminal folk revivalist, labor organizer, five-string banjo master, and champion-of-community Pete Seeger hit the folk community hard, and no wonder: though the 94 year old legend had been in failing health for a while, I think some of us just felt like Seeger would be here forever, the last scion of an ethnomusical era marching ever onward in the name of change and children.
But even as we watched grandson Tao Rodriguez Seeger become his constant companion and voice over the last few fragile years of Pete’s life, we knew: Seeger’s voice will never truly die. Children of several generations, from my own to my mother, who once used Seeger’s songs as a vehicle for planting the seeds of peace and justice in both myself and in the inner city classrooms of New York City, recognize Pete’s songs, and his long-standing contribution to social, environmental, and political change though the act of singing them loud and proud. And we will sing them for a long, long time, and some of the time – maybe even most of the time – we won’t be thinking about him, but each other, just as Seeger would have wanted it to be.
And you know all this, I think. Or you wouldn’t be here.
Pete Seeger’s impact on the modern folk canon is inherent, and deeply ingrained; there is something so obvious about his legacy that it seems almost redundant to go into it on the page. And it’s hard to imagine anyone genuinely untouched by the compassionate, tireless work in the name of human dignity, empowerment, and awareness which Seeger considered his life’s work through sixty years as a recording artist and activist. Yet one trope, I think, bears note here regardless – one which befits a cover blog who aims to explore the nexuses in song which fuel folk itself. For although he has been justly feted for his politics and song on the web in the days since his passing, Seeger’s practice of the folkways became a prototype for the folk revival that followed, and continues to spread today.
The son of an ethnomusicologist and a true believer in folk as a mechanism for tying past to future, perhaps more than any artist in history, Seeger lived folk song as if it truly did belong to the community for which it speaks. And although this practice was occasionally dismissed as a form of cultural disrespect, it is this, as much as his songs, which may well prove to be the longest lasting of his influence.
Though many songs list his name as whole or partial composer and arranger, and though his sense of singability and play were unparalleled in the history of modern social justice song, like Dylan after him, Seeger didn’t so much write and perform many of his most popular songs as he did translate them for his times. Several of his best known, from Wimowe to Turn, Turn Turn to We Shall Overcome, were created from existing hymns and folk melodies from around the world, found fragments shaped towards sociopolitical aims and sing-along user-friendliness by an earnest master. And as others have taken on the songs Seeger passed forward, versions drift, as well, with new verses added and new words sung, in the spirit of communal ownership that the statesman of folk-as-justice so exemplified.
Those who have suggested that Seeger was a theft of song from the third world cultures and underclasses he so loved both unfairly denigrate a man who loved all people and, simultaneously, miss the point of how the folk tradition truly works at its most powerful and honest. And if losing Seeger hurts so much, it is because his may well have been the most powerful, honest voice that so many of us will ever have the pleasure to meet, and love, and sing with.
Paying tribute to Seeger’s songbook, then, requires covering love – specifically, that broad sense of version ownership much like that of the oral tradition, which pays tribute to the teacher while acknowledging the timeless cultural history behind the songs. Instead of trying to parse the margins of copyright and origination, then, here’s a set of personal favorites with a much simpler organizing principle: songs which other folk artists of a certain political bent learned from or associate with Pete Seeger himself, regardless of authorship, and recorded in deliberate tribute to this long-standing folk icon.
REMEMBERING PETE SEEGER [download here!]
- The Mammals: Quite Early Morning 
- Bruce Cockburn: Turn, Turn, Turn 
- Richard Shindell: Waist Deep in the Big Muddy 
- Ani DiFranco: Which Side Are You On 
- Sarah Lee Guthrie and Johnny Irion: Dr. King 
- Elizabeth Mitchell: Little Bird, Little Bird 
- Tish Hinojosa: Festival Of Flowers 
- Kate & Anna McGarrigle: Little Boxes (Petites Boites) 
- Eric Bibb: Michael Row the Boat Ashore 
- Pat Flynn: If I Had A Hammer 
- Tony Trischka & Jennifer Kimball: Jesu, Joy of Man’s Desiring 
- Leo Kottke & Mike Gordon: Living In The Country 
- Blue Moose and the Unbuttoned Zippers: Kisses Sweeter Than Wine 
- Billy Bragg & Eliza Carthy: My Father’s Mansions 
- Indigo Girls: Letter to Eve 
- Folk Family Robinson: Reuben James 
- Joan Baez: Sagt Mir Wo Die Blumen Sind? 
- Ladysmith Black Mambazo: The Lion Sleeps Tonight 
- Luka Bloom: The Water Is Wide 
- Bruce Springsteen: Pay Me My Money Down 
- Holly Near and Ronnie Gilbert: Precious Friend 
Looking for more great Pete Seeger coverage? There are some great tributes out there, most notably the three sets which the activist-founded, socially conscious folklabel Appleseed Recordings has released in a scant decade of existence. Each is represented in the set list above, but I’m especially enamored of double-disc first release Where Have All The Flowers Gone: The Songs Of Pete Seeger, which in addition to Bruce Cockburn, Indigo Girls, Tish Hinojosa, and Billy Bragg, includes a veritable who’s who of big-name inheritors of the activist folkmantle, from Springsteen to Richie Havens to Odetta. Head over for Seeger catalog gems, coverage, and great albums from other folksingers carrying the torch into the 21st century!
New Artists, Old Songs: from indiefolk to bluegrass
January 25th, 2014 — 02:36 pm
with Stampede Road, Mountain Man, AJ Lee, Brandi Ediss & more!
I’ve been too deep in the songs up in my head these past weeks, trying to call up old fragments and refrains in memory while sitting in silence marred only by the whirring pellet stove and the faint and constant ring of tinnitus. But this is a practice that is wholly the wrong way ’round: music is meant to be heard and sung, not merely echoed in the brain; we are shamed at the realization, and determined to make amends.
And so we pursue a corrective action: a dig into the mailbag, the artist blogs and facebook pages, and the various components of the digital rumor mill to celebrate the emergent coverfolk of folk, roots, and Americana artists both known and new with a New Artists, Old Songs feature today, and the promise of news to come of recordings and releases from other, more familiar voices as winter marches ever onward.
Read on for covers of Dylan, the Dead, Low Anthem, John Denver, Blondie, Traffic, tradfolk and more from new artists Stampede Road, Mountain Man, The Tuttles with AJ Lee, Brandi Ediss, and Holy Moly and the Crackers. May your ears, too, take pleasure in the new sounds, even as we cherish those in our hearts and heads.
All I know about Edinburgh-based folk band Stampede Road is what they sent me, which wasn’t much: a pair of streaming split singles on Bandcamp, and nary a website to be found. But the lo-fi session cover of The Low Anthem’s OMGCD that accompanied the missive from this newly formed quartet led by singer songwriter Graeme Duncan is beautifully raw, intimate, timeless and weary. And following the threads to more produced tracks White Rooms, Night Terrors, and brand new 2014 single Old Town, recently featured on Largehearted Boy and Captains Dead, reveals a shimmery overlay of reverb and harmony that adds richness and flavor in the studio, making for a dreamy, delicate Appalachian-flavored folkpop with just enough originality and quirkiness to suit the indie ear.
Fans of First Aid Kit and labelmates Deer Tick and Dolorean will love this recent John Denver cover from all-girl indie group Mountain Man, with its layered voices and gentle, melodic acoustic guitar. All of us love that Mountain Man, a trio of young twenty-something singer-songwriters who met at Bennington College, and were essentially dormant in the last few years after touring around 2010 debut Made the Harbour, appear to be back on the radar for more precious, precocious quietfolk in the months and years to come, both as a band, and with solo and side projects from members Molly Erin Sarle, Alexandra Sauser-Monnig, and Amelia Randall Meath, who continue to share news of recordings and shows with Hiss Golden Messenger, Megafaun, Feist, and other well known names from the indie community on the Mountain Man Facebook page. Here’s hoping for more as the year goes on.
Skafolk isn’t a thing, but if it were, first in line for kudos and Grammy nominations this season would surely be Newcastle based band Holy Moly and the Crackers, who add celtic fiddle flavor and a Jamaican beat for a brooding cover of tradtune Ain’t No Grave to close out their upcoming three-track EP Lilly, a “re-imagining” of three traditional folk/blues songs that evokes eras of whiskey and guns on modern punk folk steroids. The band, who play “a lively, moonshine mix of Romani, Americana and contemporary British ‘folk’n’roll’”, claim broad influence from the likes of Woody Guthrie, Gogol Bordello, and Laura Marling; others hear The Pogues, Billy Bragg, and The Waterboys, too, and you can hear it all here, in some great live covers and originals on YouTube, and in full album First Avenue, which can be purchased directly from the band on their website.
- Holy Moly and the Crackers: Mississippi Moonlight (orig. Buffalo Skinners)
- Holy Moly and the Crackers: Ramblin’ Gamblin’ Willie (orig. Bob Dylan/trad.)
- Holy Moly and the Crackers: Cocaine (trad.)
This year’s Joe Val Bluegrass Festival is just around the corner, putting us in mind of mandolins and stand up bass, and creating a context which leaves us especially happy to have found The Tuttles with AJ Lee; we’ve a long history of championing young tradfolk and bluegrass artists here at Cover Lay Down, and these kids have been wowing the bluegrass circuit and beyond, garnering ovations and awards since their formation in 2008. Both band and co-lead vocalist Lee are up for “Best of” awards at the Northern California Bluegrass Awards tonight, where bandfather Jack Tuttle, who teaches bluegrass and old-time instruments of all types, will be honored with a lifetime achievement award in recognition of his well-respected work, including his guidance and leadership of this current lineup. But the kids are the true driving force here: stunning singer-songwriter and picker Molly Tuttle, whose trio will appear on the Joe Val sidestage, is finishing up her last semester at Berklee this year; younger brothers Sullivan and Michael demonstrate chops and agility beyond their years; sweet yet hearty-voiced mandolin player AJ Lee, who is still finishing high school and trends towards Grateful Dead covers on tour, has been aptly compared to Alison Krauss or Sarah Jarosz, both of whom, we should remember, got their start as early. Listen, and we think you’ll hear the magic, too.
- The Tuttles with AJ Lee: Ripple (orig. Grateful Dead)
- The Tuttles with AJ Lee: Sugar Moon (orig. Bob Willis)
- AJ Lee: Tomorrow Is A Long Time (orig. Bob Dylan)
Finally, thanks to the ever-discerning Mary Lou Lord, who has a knack for finding and touting the best new voices, for passing along coverage from Brandi Ediss, an alto on the knife-edge of alternative pop and singer-songwriter folk who sweetly interprets beloved songs into a mellow-tinged wash of sound and riotous video effects on a weekly basis. The finished results, produced at home with digital tools or in collaboration with facebook friends from afar, sound like a band and a half, with a warm, decidedly retro california tone and luscious, sighing vocal layers sure to delight; download a bunch over at Bandcamp, and subscribe to her YouTube page for more originals and coverage in the same sweet vein.
- Brandi Ediss: Love Is Making Its Way Back Home (orig. Josh Ritter)
- Brandi Ediss: Dear Mr. Fantasy (orig. Traffic)
- Brandi Ediss: Kodachrome (orig. Paul Simon)
- Brandi Ediss: Call Me (orig. Blondie)
- Brandi Ediss: I Wish I Was The Moon (orig. Neko Case)
Looking for more streaming coverfolk throughout the week? Join the Cover Lay Down facebook page, where we’ve recently posted new coverage from YouTube stars Kina Grannis, Daniela Andrade, and Kiersten Holine!
The Working Life: Employment songs, covered in folk
January 11th, 2014 — 03:23 pm
by Slaid Cleaves, Joshua James, Gillian Welch, Todd Snider & 16 more!
Re-entry into the working life is always tough after the holiday break, but this year has been a bit harder than most. The school where I work is struggling more than ever, trying to implement new methods and structures on the fly after being labeled failing by the state. The trickle-down effects of stress and sheer substance can make teaching less the usual tightrope, and more of a juggling act with too many balls in the air, where each choice made to serve one mandate means taking time and energy away from another, until terror becomes normative. And the turn-around time is incredible, with strategies taught to teachers in a professional development session this past Wednesday being observed in classes on Monday, even as we prepare students for district-written midterm exams received only Tuesday, and due midweek, that contain concepts and vocabulary no one knew to teach until we saw the tests themselves.
As I have said here before, I love my chosen career; love the students, and the noble struggle of reaching them; love the satisfaction of a curriculum well constructed, and those moments where teacher and students are in the zone, and epiphanies are made. But I love my family, too. And the drag that this year is putting on my best self outside the classroom is all the more apparent after two weeks on and off the road with them, with its constant reminder of how much love there is when we have each other to cherish.
Some songs about work, then, to mourn and maintain the necessity, and acknowledge the way it tears at the spirit to leave home in the darkness every day, and come home in another darkness, too late and too tired to give our best to ourselves and our families. Many are scavenged from a similar set originally posted in August of 2008, designed as a soundtrack for the job search that led me to this inner city school in the first place, but it seems fitting to uncover them, and share them anew, even as we add to their grace and gravity. For no matter how lucky we are to do what we love, there are always times when the weariness gets to us, and all we can do is sing.
- The Working Life: A Coverfolk Mix
- Jones Street Station: Tall Buildings (orig. John Hartford) 
- Slaid Cleaves: Working Stiff (orig. Melvyrn Taylor) 
- Richie Havens: Working Class Hero (orig. John Lennon) 
- Lavinia Ross: Millworker (orig. James Taylor) 
- Melissa McClelland: Factory (orig. Bruce Springsteen) 
- PoZitive Orchestra: Money For Nothing (orig. Dire Straits) 
- Ephemera: Manic Monday (orig. Prince/The Bangles) 
- The Notting Hillbillies: Railroad Worksong (trad.) 
- Joshua James: Custom Concern (orig. Modest Mouse) 
- Alison Krauss: 9 to 5 (orig. Dolly Parton) 
- Leslie King: Money (orig. Pink Floyd) 
- Tim O’Brien: Maggie’s Farm (orig. Bob Dylan) 
- Pamela Means: Maggie’s Farm (orig. Bob Dylan) 
- Gillian Welch: In Tall Buildings (orig. John Hartford) 
- Jeb Loy Nichols: Worried Man (orig. Johnny Cash) 
- Brett Ratliff: Ain’t Gonna Work Tomorrow (trad.) 
- Bruce Springsteen: Pay Me My Money Down (trad.) 
- David Lindley & Wally Ingram: Do You Want My Job? (orig. John Hiatt) 
- Peter Case: A Working Man Can’t Get Nowhere Today (orig. Merle Haggard) 
- Todd Snider: I Makes Money (Money Don’t Make Me) (orig. Jerry Jeff Walker) 
Cover Lay Down spreads the gospel of folk through coversong thanks to donors like you. As always, if you like what you hear here, please consider purchasing music from the artists we feature. After all, if it weren’t for our patronage, the music makers would be out of a job, too.
There’s a special place in my heart for Nanci Griffith‘s 1993 covers album Other Voices, Other Rooms, a Grammy winner for Best Contemporary Folk Album which came out just as I was rediscovering my own love of folk music and coverage. Indeed, the album has long been a staple of my collection, well-worn for its tender, sweet song treatments of a veritable who’s who of folk artist who influenced a generation, from Gordon Lightfoot to Kate Wolf to Ralph McTell, and with bonus points for including some of the original songwriters, including Frank Christian, John Prine, and Bob Dylan, on session instruments and harmonies. And although Other Voices, Too, released five years later, wanders wider in its search for other influence, and perhaps shows some of the strain of Griffith’s intervening years as a cancer patient, it, too, contains gems worth repeating, including a gorgeous take on Sandy Denny’s Who Knows Where The Time Goes.
A number of Nanci Griffith’s hits have been covers: for example, although many know it as a Bette Midler song, her performance of Julie Gold’s From A Distance was decidedly definitive. But although she is well known for her interpretations of other people’s songs, Griffith is a potent singer-songwriter in her own right, too, with 35 years on the circuit and a pedigree that includes an affiliation with the 80s Fast Folk movement and a lifetime achievement award from the Americana Music Association. Beloved on both sides of the country and folk line for her poignant portrayals of universal longing, loss, isolation, and small-town life in a big-city world, her albums were staples of my father’s collection, as well. And although some of her work swings a bit country for my taste, Griffith’s bright, little-girl voice brings a tenderness to her own compositions that makes it easy to hear why she is so revered by her peers.
Unsurprisingly, Griffith’s songbook is relatively well covered by those who, like her, have played the country and folk sides of a perforated line. Her songs have been hits for Kathy Mattea and Suzy Bogguss; last year saw the emergence of Trouble In The Fields, a long-overdue tribute album released with little fanfare featuring the likes of Amy Rigby, John Stewart, Red Molly, Stacy Earle, long-time backing band The Kennedys, and more from a broad swath of the contemporary folk circuit; the album has several gems, and is solid throughout, though many interpretations hew close to the originals.
A deeper dig into the album cuts of a very big archive uncovers more coverage to love as well. And so, today, we present a mix of our own favorite Nanci Griffith covers, including a distinctively differentiated pair of early takes on Once In A Very Blue Moon, amazing recent interpretations from The Stray Birds and Red Molly, a Sarah Harmer rarity, a cut from Jonathan Edwards’ country album, a lullaby from Eliza Gilkyson, and more. Enjoy the set, plus a few favorite covers by Griffith herself, and then – if you haven’t heard them – pick up Griffith’s classic albums Once In A Very Blue Moon and The Last Of The True Believers, a pair considered by most critics to be the best introduction to her early work before she turned completely to “folkabilly” and Country music.
- Nanci Griffith: Comin’ Down In The Rain (orig. Buddy Mondlock)
- Nanci Griffith: From Clare To Here (orig. Ralph McTell) 
Looking for more coverfolk in your daily life? Check out the Cover Lay Down Facebook page for more streaming goodies throughout the week – including a brand new batch of coverfolk from Hurray For The Riff Raff, Juliana Hatfield, Teddy Thompson, Frontier Ruckus, The Chapin Sisters, Matt Nathanson and more in tribute to high harmonizer Phil Everly of the Everly Brothers.