Search results for ‘dylan’
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.
The Year’s Best Coverfolk, Vol. 2: The Singles (2013)
December 30th, 2013 — 11:11 am
(b-sides, deep cuts, & more one-shot coverage)
As we noted in Vol. 1 of our year’s best series, we eschew the hierarchical here at Cover Lay Down, preferring celebration to criticism. This is especially true of individual tracks – there’s so much good out there, we could spread the gospel every day, and never run out of moods or music.
Even in our own niche, at the intersection of coverage and folk – where every song is part of the folkways, and every one represents a search for new meaning and new emotion in songs heard sweetly – there is more than we can ever celebrate. But at the end of the year, there are a few songs so dear, so precious, so perfect, that we work to remember them always. And sometimes, rather than struggling to put into words just why a particular song hit us so powerfully, it is time to let the songs speak for themselves.
Music soothes the savage breast, and this year was more savage than most. The songs which we have saved and savored are a hodgepodge heavy with songs which saved us in our darkest hours, and those which spoke to and for our bruised and broken hearts, helping us remember that we were not alone even as we abandoned the blog for weeks on end. Here, too, are songs which brought us joy when we needed it most. And here, too, are the songs which amazed us, and those that simply brought the world to a standstill, stoping our hearts at their bold beauty.
Our annual Best Coverfolk Singles mixtape, then, from tradtunes to obscurities to folk, pop, rock, and country favorites: 36 covers in all, and every one sublime. It was, after all, a very good year for coverage.
The Year’s Best Singles: A 2013 Coverfolk Mix [zip!]
- Sarah Jarosz: Simple Twist Of Fate (orig. Bob Dylan) [via]
- Ruth Moody: Dancing In The Dark (orig. Bruce Springsteen) [via]
- Sleeping At Last: The Safety Dance (orig. Men Without Hats) [via]
- Okkervil River: The End Of The Innocence (orig. Don Henley) [via]
- Joy Kills Sorrow: Such Great Heights (orig. Postal Service) [via]
- Noah Gundersen & The Forest Rangers: As Tears Go By (orig. Rolling Stones) [via]
- The Honey Dewdrops: Across The Universe (orig. The Beatles) [via]
- Shannon Whitworth: So Far Away (orig. Dire Straits) [via]
- Betse Ellis: Straight To Hell (orig. The Clash) [via]
- Scott Cook: The Poet Game (orig. Greg Brown) [via]
- Emerald Rae: Sugar Baby (trad.) [via]
- The Wellspring: She Loves You (orig. The Beatles) [via]
- Allysen Callery: Long Black Veil (orig. Lefty Frizzel) [via]
- Pharis & Jason Romero: Truck Driver’s Blues (orig. Cliff Bruner) [via]
- Buffalo Tales: Diamonds (orig. Rhianna) [via]
- Denison Witmer: Asa (orig. Bry Webb) [via]
- Rachel Sermanni: I Want You Back (orig. Jackson 5) [via]
- Lucy Wainwright Roche: Call Your Girlfriend (orig. Robyn) [via]
- Thea Gilmore: White Winter Hymnal (orig. Fleet Foxes) [via]
- Red Tail Ring: My Heart’s Own Love (orig. Hazel Dickens) [via]
- Jeremy Squires: Rust Or Gold (orig. Jill Andrews) [via]
- Chris Denny: Bermuda Highway (orig. My Morning Jacket) [via]
- Marika Hackman: 81 (orig. Joanna Newsom) [via]
- Jones Street Station: Wayfaring Stranger (trad.) [via]
- Homesick Elephant: Waiting Room (orig. Fugazi) [via]
- Folly Rae: Tonight I’m Getting Over You (orig. Carly Rae Jepson) [via]
- Doc Feldman & the LD50: Battle Hymn (orig. Brothers Lazaroff) [via]
- Caitlin Rose: Pink Rabbits (orig. The National) [via]
- The Deadly Gentlemen: The Kids Don’t Stand A Chance (orig. Vampire Weekend) [via]
- Laura Cortese: Life Is Good Blues (orig. Laura Viers) [via]
- Arborea: Cherry Tree Carol (trad.) [via]
- Heidi Talbott: When The Roses Come Again (orig. A.P. Carter) [via]
- LP: Something (orig. The Beatles) [via]
- Bhi Bhiman: Walk Of Life (orig. Dire Straits) [via]
- Levi Weaver: The Weight Of Lies (orig. Avett Brothers) [via]
- The Crow Quill Night Owls: On The Road Again (trad.) [via]
Cover Lay Down thrives throughout the year thanks to the support of artists, labels, promoters, and YOU. So do your part: listen, love, spread the word, and above all, purchase the music, the better to keep it alive and kicking.
And if, in the end, you’ve got goodwill to spare, and want to help keep the music flowing? Please, consider a year’s end contribution to Cover Lay Down. All gifts will go directly to bandwidth and server costs; all giftees will receive undying praise, and an exclusive download code for a special 26-track gift set of alternate favorites and rare 2013 covers otherwise unblogged. Click here to give.
The season is well upon us, and the snow is falling on the trees, making a white world of what was green and brown. After school, the wee one takes the sled out; though the scant inch or two that’s fallen is too soft for traction, she seems happy enough playing on the driveway. And I am happy, too: at the fire which warms our house, and the blankets which beckon beside it; at the freedom of an afternoon shut in by snow; at the happiness of children at play.
Like the snow – and like the fleeting calm that permeates its moments – holiday favorites tend to fall, stick for a week or two, and then melt away; though their ephemeral nature makes them precious, so, too, do the songs of every season fade too easily into the haze of memory, like Dylan’s blur of childhood Christmases in Wales. And yet just as one season’s gems hardly represent the total canon of any of the artists we feature, to spend one’s time going back and forth between the public pap of the radio dial and this year’s newest holiday soundtrack is to dwell on the popular and new – a trend which neither honors the stillnesses of the season nor the comfort of its rituals and traditions.
This week and next, our coverfolk advent calendar will feature a seasonal set of new artist EPs, and single-shot videos and streaming tracks to make the spirits bright; as always, we urge pursuit of all artists through and after the holidays, that the present might lead to support and fandom, the better to keep the fires of folk alight. For now, though, we’ve dug through the archives to bring you our Christmases past – a set of seasonal mixtapes from the secular to the sublime, and the silly to the sane, curated and shared here on the blog between 2008 and 2012. Enjoy the archives, and may the spirit of the season find you in good health and good humor.
- New Artists, Old Songs: A Holiday in My Inbox (New takes on Joni Mitchell’s River; Joel Rakes does Xmas Classics)
- Holiday Coverfolk, 2009: New Christmas Covers from Joel Rakes, Sam Phillips, Tori Amos, A Fine Frenzy, and more!
- Holiday Coverfolk 2010, Vol. 1: Christmas, (Re)Covered (New and newly-found holiday songs from familiar faces)
- I’ll Be Home For Christmas: Holiday Coverfolk 2010, Vol. 3 (Songs of holiday longing and loneliness)
- Secular Seasonals and Nonedenominational Carols: Snow Songs, Sleighrides, and More Folk Covers for a Winter’s Night
- Christmas Coverfolk, 2012: New Tracks from Old Friends
[individual tracks no longer available; download the mix here]
When we last checked in on Mary Lou Lord, she seemed to be on permanent hiatus following a 2005 diagnosis with a rare vocal cord affliction, though an appearance at SXSW the following year suggested she was still open to possibility. But the pixie-faced singer-songwriter who rose from the subways of Boston to indiegrunge fame through a combination of raw talent and close relationships with both Kurt Cobain and Elliott Smith has been on the move lately, co-founding Girls Rock Camp in Boston, embarking on a new kickstarter-driven album, hosting open mics, and playing alongside her talented teenaged daughter Annabelle in a recent live tribute to Elliott Smith alongside Rhett Miller, Chris Thile, Bob Dorough, and others that was featured in The New Yorker.
More generally, Lord’s Facebook feed is a daily dose of awesome, a delightful combination of raw human observation and the loving curation and celebration of a number of amazing musical legacies both past and present, from Joni Mitchell and Smith himself to mutual faves Elizabeth Mitchell, Haley Bonar, Teddy Thompson, and First Aid Kit. Though she is still recovering from a serious fall off a fire escape last month, that didn’t stop her from making major news in Stereogum after an “epic” Facebook response to Courtney Love’s terrible rendition of Big Star hit Thirteen wandered into a more general response to Love’s tendency to claim in public interviews that Lord snuck onto Kurt and Courtney’s porch to kill their cat – a thoughtful, emotional, coherent use of social media that only cemented our faith in the woman’s resilience, and made Courtney seem even more insane, as if such thing were possible.
As Lord noted at her recent live performance, she doesn’t perform much anymore, and a small but growing set of Soundcloud covers, including takes on Jason Molina, Dylan, and Richard Thompson, reveal an artist still struggling to vocalize, though the resulting strain has a rare intimacy, and reveals charm of its own. But if this is a comeback, we’re all for it. Read our original feature, check out our newly-expanded list of covers – including a stunning Lucinda Williams take from her newest album – and follow Mary Lou Lord on Facebook to keep up with the resurrecting career of a well-deserving superstar.
As far as I can tell, the only major distinction between modern folk and a certain sort of indie music seems to be how the artists choose to produce and use instruments on their songs. And though you won’t find this sort of fuzzed-out guitar on the other folkblogs, the way the modern singer-songwriter mentality seems to find voice in both indierock and folk fascinates me.
But production isn’t what makes folk, and even if it were, the distinction is often fluid. The small but growing cadre of indie artists who perform in both folk and alt-rock modes owe no small debt to a select group of artists — Evan Dando, Lou Barlow, Tanya Donelly, Jeff Tweedy, Ben Gibbard and others — who have, over the years, moved easily across the bridge between the two forms. But these artists, in turn, owe the very existence of that bridge to other, lesser-known forerunners, like Elliott Smith and Daniel Johnston, who spent their entire careers building the bridge for them to cross.
As part of our ongoing exploration of this curious relationship, today we feature one underappreciated artist who is more often found among the indierock, but who has claimed folk credibility from the start: Mary Lou Lord, folksinger and cover artist.
I was a high school student in Boston during Mary Lou Lord’s busker days, and not an apt or diligent pupil; I often skipped class to head off down the T into Harvard Square with friends. Given our relative age, then, and her own preference for playing along the Red Line, I suppose I must have passed by Lord a couple of times. But back then, my ears were full of post-punk grunge, and she was just another streetcorner kid with an acoustic guitar, a ragged approach, and an innocent, little-girl voice. By the time she started recording alongside the best of the growing post-punk world, I had already moved on.
The heavy fuzz and feedback of much of her production puts the bulk of Mary Lou Lord’s recorded work squarely in line with early nineties alt-rock; if you’re looking for her in your local indie record store, you’ll find it alongside the pre-grunge of artists like The Lemonheads and Juliana Hatfield. But like Beck, Lord has always had a folk heart, and worn it proudly. Though she’s famous for her catfights with Courtney Love, she toured and recorded with Elliott Smith, and opened for Cover Lay Down fave Shawn Colvin. By identifying herself with those artists and others, Lord categorizes herself as an artist straddling the bridge between singer-songwriter folk and the indie world.
The songs that Lord has chosen to cover over her two-decade career speak volumes about which artists she considers her musical peers and forefathers, and here, too, we find a curious connection with the folkworld. In and among the Magnetic Fields and Big Star covers, we find covers of Smith and Colvin, indiefolkie Daniel Johnston, Lucinda Williams, Richard Thompson, and even oldschool pre-folkie Elizabeth Cotten. Clearly, this is a woman who listens to folk music on her own time, recognizes good songwriting regardless of original instrumentation, and takes them where she can find them.
Here’s a few of my favorite Mary Lou Lord coversongs which hit that spectrum, and then some. Most are solo acoustic, delicate and coy, but don’t be scared by the occasional guitarfuzz; this is, at heart, a form of folk. Heck, if feedback was all it took, Dylan wouldn’t be a folkie anymore, either.
- Mary Lou Lord: Jump (orig. Van Halen)
- Mary Lou Lord: Shake Sugaree (orig. Elizabeth Cotten)
- Mary Lou Lord: Speeding Motorcycle (orig. Daniel Johnston)
- Mary Lou Lord: Fearless (orig. Pink Floyd)
- Mary Lou Lord: Thirteen (orig. Big Star)
- Mary Lou Lord: Hard Road (orig. Lucinda Williams)
- Mary Lou Lord: I Don’t Want To Get Over You (orig. Magnetic Fields)
- Sara Radle w/ Mary Lou Lord: Mama Don’t Let Your Babies Grow Up To Be Cowboys (orig. Ed Bruce) 
- Mary Lou Lord Soundcloud Covers [2012-2013]
It’s hard to link to the collected works of Mary Lou Lord; her recorded output remains scattered across several indie labels, some of them short-lived. But some of her back catalog is still available, and it’s chock full of folk covers.
Folk fans are probably best served by starting with the cover-heavy Live City Sounds, a hard-to-come-by acoustic album with several Richard Thompson covers which sounds like the streets where I once passed Mary Lou Lord in her busking days. Alt-punk label Kill Rock Stars also still carries a split bill EP and a couple of compilations.
Though her newest album seems not to have been released yet – she leaked the new Lucinda Williams track last year herself after it started getting play on media outlets – those looking for a more recent treasure trove would be well served to bookmark Mary Lou’s Soundcloud page, which has a growing mix of living room coverage and old found studio sound, including some mid-nineties tracks of her goofing around with Elliott Smith.
Bonus tracks? Sure – here’s a couple more Big Star coversongs in the same grungefolk vein. Dando’s cover is one of my favorite coversongs ever, hands down. And doesn’t Mary Lou Lord sound like a female version of Elliott Smith?
New Artists, Old Songs Week, Vol. 1: Streaming coverage from
September 7th, 2013 — 01:32 pm
Jeremy Squires, Allysen Callery, Al Lewis, Mia Dyson, Virgin Soldiers & more!
At the core, like most music blogs, Cover Lay Down aims to be a venue of exposure, that nurtures and sustains the continued viability of the folk and acoustic genres by helping connect artists and fans through the comfort of tribute and interpretation.
This week, in a set of consecutive features in service to that goal, we turn once again to our sources for the new – the mailbag, the merch table, and our favorite folk and cover bloggers – to celebrate the works of several still-emerging artists whose recent coverage has found its way into our hearts, even as their songchoices and soundsettings reveal the particulars of their growing identities as artists.
May you, too, find joy and promise in a rising generation of folk musicians, and be moved to support their craft through purchase, patronage, and pass-along.
Our 2010 Singer Song Sunday exploration of country and bluegrass standard Long Black Veil would have been well-served by this haunting recast from singer-songwriter Allysen Callery, a self-taught New England fingerpicker with a will-o-the-wisp voice whose heavy influence by her parent’s collection of British Isles Folk Revival records of the late 60′s early 70′s resonates throughout a growing number of beautiful albums, with 2011 double-EP set Winter Island and The Summer Place especially worthy of note. Callery’s style is enveloping, frail but surprisingly rich, her songs like castles in the air, all heaven and hiding places; the choruses alone give me chills. New LP Mumblin’ Sue drops next week on vinyl.
Allysen Callery: Long Black Veil (orig. Lefty Frizzell) 
Allysen Callery: Young Edwin (trad.) 
Prolific Welsh singer-songwriter Al Lewis is eminently Welsh: of four albums and 2 EPs since 2007, exactly half have been in the welsh language. But his music belies popular influences father afield, and it’s eminently accessible. The gently bouncy indiepop of Make A Little Room, off new release Battles, soothes and settles like a radio-driven summer soundtrack hit; slowed down and stripped of its poppy setting, as in this solo studio take from a Crypt Session in May, it’s beautiful, and clear as a bell. And his five-song set of equally dreamy, fluid, unadorned acoustic-with-strings covers uploaded to Soundcloud back in midsummer make for a sweet streaming EP, with a wistful Free Man In Paris, a potent Tom Waits cover filtered through Tim Buckley, and a sweet, sincere Jesus Was A Crossmaker that will endear him to folk audiences.
Self-taught North Carolina native singer-songwriter Jeremy Squires popped up on our radar several times this year with a pair of appearances on lo-fi folkblog Slowcoustic, where any artist touted twice is inherently worth a listen. Sure enough, after releasing the third in a trilogy of revelatory records designed to exorcise the demons of depression, the covers Squires has taken on in the past year – a softly melodic yet no less potent take on Sheets from Slowcoustic’s recent Damien Jurado covers project, and a pensive piano ballad transformation of a new song from Everybodyfields alum Jill Andrews perfect for fragile hipster television playback – offer equal evidence of scars and healing, even as they comfort and chill, delight and differentiate.
Reviews and interviews suggest that Grace Basement – a folk, pop and rock project from musician, engineer, and producer Kevin Buckley, who was raised in the Irish folk community at home and abroad, and continues to perform jigs and reels in sessions in and around his adopted St. Louis, Missouri – has stripped down their approach since the heavy, heady rock quartet sound of 2007 debut New Sense. If so, the shift has been to our benefit: the banjo and handclaps that accompany the predominantly singer-songwriter fare on 2013 release Wheel Within A Wheel support an intimacy that is rare as it is revelatory; the pair of recently recorded covers which Kevin sent along, which seem to come from the same sessions, comprise a spectrum analysis, with a Bob Dylan cover that fits neatly into the No Depression camp even as its arrangement echoes historic predecessors like The Mamas and The Papas and the Byrds, and a relatively faithful solo cover of a Paul Simon favorite that balances warm, echoey edge with no small hint of harmonic excellence.
From the rootsy intersection of folk, blues and rock comes Aussie singer-songwriter Mia Dyson, who tears up Lori McKenna’s I Know You with a gravely countryfolk voice and a grungy, bluesy bar-room resonator-and-drum production in a new cover (selected by a fan in her recent Pledgemusic campaign, and premiered this week via Roughstock) that echoes Kasey Chambers or Lucinda Williams at their grittiest. Four-time ARIA nominee Dyson has been on the rise Down Under for a decade, touring with the likes of Eric Clapton, Bonnie Raitt, and Stevie Nicks; she appeared at Falcon Ridge Folk Festival in 2006, but I seem to have missed her, leaving her still available to our New Artists series, and the timing is good, coming as it does on the cusp of a deliberate effort to break into the American scene with an Autumn tour around new album The Moment, which has already been duly noted as a tour de force by critics galore. Her older take on Lucinda’s Can’t Let Go, shared below as a bonus, is equally raw and resonant, though couched in only an electric guitar and that wailing voice, making for an ecstatic growl that heats us up and leaves us wanting more.
The lo-fi sounds on Abandoned Covers, an archivally-sourced collection of live and studio covers recorded under the auspices of Abandoned Love Records since their establishment in 2004, come from a small stable of four label artists on the broken side of lo-fi and experimental folk; multiple covers of Big Star and The Magnetic Fields, plus Meursault, Yo La Tengo, Modest Mouse, and Roxy Music speak aptly to a set of equally underground, alternative, and grungy influences on bands and label that collapse the waveforms of late 80s underground alternative bands such as The Bats and The Lemonheads with both the modern indiefolk movement and the slow and ragged tones of the bedroom and basement cover. Favorite finds include Austin, TX band The Lovely Sparrows, whose distinct voices and slowed approach to electro-acoustic arrangement is spare and, in its own way, quite mystical, and Virgin of the Birds, who with layered howls, drones, and electronic hums bring an atmospheric, psychedelic vibe to traditional track Fatal Flower Garden, Nico’s Evening Of Light, and Levi Fuller’s This Murder Won’t Hurt You.
Tonight You Belong To Me is an oft-covered song, but there’s something about this cover from “Acoustic Americana” Chapel Hill, NC trio A Mad Affair that caught my ear. Perhaps it’s the innocence lost: brighter than most, and rich with subtly effective harmonic flourishes, theirs is a deceptively cute but ultimately mature rendition. And the cover – the only one they’ve recorded in-studio, it seems – is aptly reflective of the fine acoustic songcraft displayed on highly-recommended debut album Retro Honey Pop: the guitar, stand up bass, ukulele and occasional fiddle are tight and delightful; the hearty, warbly, clear-as-a-bell country twang of lead singer Valerie Wood worms its way into the heart; the tracks, which range from sunny, poppy tracks to mournful harmony ballads, run the gamut of classic acoustic folk and country influence, yet come up sounding fresh as a daisy.
Bonus points for a small set of living room covers over at YouTube: a latin-tinged fireside tribute to Willy Wonka filmed last February, a sultry Suzanne Vega tune from midsummer, and a sweet take on The Waterboys’ Fisherman’s Blues posted just this week.
- A Mad Affair: Fisherman’s Blues (orig. The Waterboys) 
- A Mad Affair: Pure Imagination (orig. Willy Wonka and the Chocolate Factory) 
- A Mad Affair: Caramel (orig. Suzanne Vega) 
Since its founding at the hands of singer/guitarist/songwriter James Beeny in 2011, UK acoustic “Strock” sextet Virgin Soldiers has shared stages with Ellie Goulding, Joan Armatrading, and Echo and The Bunnymen – strange bedfellows, indeed. And the name that the band has given their particular strain of chamber-quartet-meets-UK-folkrock sounds like something straight out of the Flintstones. But the crossover conceit of playing contemporary music on classical instruments has broad appeal in the post-millennial pastiche world, and the BBCs sustained support of the band throughout their emergence in the past two years speaks aptly to their collective talent: the equal balance of strings, synth and guitar on Numb, a transformative Linkin Park cover released last October, is but a harbinger of the majestic sonic depth and soaring fancy of debut single Moon Song, which shot to No. 3 on the Amazon Rock Chart when it hit the airwaves in August.
Virgin Soldiers: Numb (orig. Linkin Park) 
Stay tuned for a midweek second round of new and newly-found artist coverage featuring covers of The Clash, Greg Brown, The Bee Gees and more, couched in every branch of the folkstream, from Appalachian fiddlefolk to contemporary singer-songwriter fare and indiefolk; keep liking us on Facebook for ongoing previews and single-shot streams throughout the week. And thanks for your patience during our recent hiatus: it’s good to be back on the blog.
Always ad-free and artist-friendly, Cover Lay Down shares new coverfolk features, mixtapes weekly throughout the year thanks to the support of our readers and fans; DONATE before the end of September, and we’ll regift 20% of your every dollar to Sweet Relief, a non-profit founded in 1993 to support musicians who find themselves in “untenable predicaments” due to illness or disability, in memory of Chicago singer-songwriter Matt Ryd.
I will stumble, will I fall?
I’ll be humbled, will I crawl?
I am broken, will I be healed?
I am beaten, am I torn?
I’m alive, but nothing more.
I am broken, will I be healed?
- Matt Ryd, “Healed”
However comforting it might be, by its very nature, our focus on coverage can distance us from the lyrical narratives of up-and-coming folk artists and singer-songwriters. So when news came down the wires this week that 28 year old Chicago native Matt Ryd had lost his struggle with depression and stress brought on by an eating disorder, it was a harsh reminder of just how inseparable the personal and the professional lives of artists can be – and a note of caution for all of us to remember that artists are people, not just providers of song, and that even when their lyrics seem to speak loud and clear as a cry in the darkness, it’s easy to misread how truly their chosen narratives illustrate their inner demons.
When we first featured Matt Ryd in our New Artists, Old Songs series in the summer of 2010, all I knew about him was what I could see and hear through his music, and the mechanics of his chosen relationship with his fans. Both were worthy of celebration: as we noted at the time, his newly-released cover of Dire Straits classic Romeo and Juliet was “a perfect case study in how simple, deliberate arrangement and sparse instrumentation can transform an original into something deliciously sweet and new.” And though we ascribed his coverage choices to a calculated attempt to appeal to the masses, the warm acoustic popfolk reconstructions of songs from Lady Gaga, Beyonce, Katy Perry and Paula Abdul he included among the gems on his mailing list exclusive cover series and his increasingly prolific YouTube sets made it clear that Ryd knew how to play, and be playful, in the 21st century marketplace.
Outwardly, Matt showed all the signs of up-and-coming success: he recorded five albums between 2008 and 2013, releasing his first full-length, “Looking for Home”, to a sold-out crowd at Schubas Tavern in late 2010; his song Healed, whose lines appear above, was featured on Scrubs. Always a champion of his fellow musicians, in 2012, he formed the production company Rydmedia to produce albums for local artists. Frequent genial-yet-humble missives to his fans sustained a likability that brought us in, and kept us coming back. And his insistence on releasing all of his music under Creative Commons licensing only underscored his embrace of the modern pass-along models that drive artistic momentum today.
But behind the music, Matt was suffering. Towards the end of 2012, he checked into an in-patient facility to address his eating disorder; when the insurance ran out, he left, which caused a spiral of anxiety and depression that would bring him back to residential treatment. He was open with his fans about this process, sharing a long message on his Facebook page in March of this year addressing the matter head on, and apologizing for the silence that it would produce.
And then, on Sunday, August 4th, Matt lost his struggle with what had become an overwhelming complex of illnesses. Obituaries and remembrances rightly refer to him as both a musician and an activist for eating disorders, in recognition of how deeply and how well he had come to share his challenges, even as they deepened over the past 18 months. As his parents noted, “our hearts are broken, but we take comfort in the knowledge that he has finally been “Healed” and will suffer no more.”
Matt was luckier than most: he had some insurance, and a strong support system of family and friends. But Matt’s story reminds us that mental and physical health is a heavy topic for artists in the US, where a lack of socialized medicine and a predominantly private-sector economic model for the arts writ large often leaves musicians bereft of the basic safety net that others take for granted.
Ethan Scott Baird of New England folk trio Pesky J. Nixon speaks fondly of Andrea Coller, a young Massachusetts songwriter of great potency and potential who fought cancer three times before her untimely passage in 2008; both Baird and Coller worked with The SAMFund, which helps young adult cancer survivors from all walks of life regain their financial footing after cancer-related illness, and her courage shines through the raw power of You And The Ghosts and Best Bad Choice, two original demos he sent along. In addition to late greats Dave Van Ronk and Richie Havens, Ethan also cites Vance Gilbert, who was out performing 24 hours after leaving the hospital with a brand new pacemaker, as examples of those from older generations whose ability to manage health issues have been challenged or undermined by the lack of a safety net. More generally, he notes,
For the group of artists that make so many of our favorite places, experiences, and the world in general so much more colorful and interesting, lack of health care, both physical and mental, has drastically reduced our expected lifespans. I see this affecting self-employed friends and entrepreneurs every where I go. Often these are our best and brightest who choose to redesign and redefine the world around them. It seems a shame that an issue like access to doctors and medicine often can be the reason why our brightest lights go out early – it really doesn’t feel like it should be a first world problem.
Though we do not always see it, evidence of the ongoing struggle to support artists in body and mind lurks behind the music we share and track here on these virtual pages. As the recent passing of indie musician Jason Molina of Songs:Ohia and Magnolia Electric Co. reminded us, drug and alcohol addiction continues to haunt many in the musical world, its temptations fueled by the hard life of touring, the raw soul of the artist, and an unhealthy popular celebration of the life of excess as the price of doing business. And sadly, mental illnesses of other sorts are rife in the creative world; most famously, the list includes oft-hospitalized bipolar musician Daniel Johnston, who we covered in a Single Song Saturday back in January of 2011. Admirable non-profits such as Nuci’s Space, which aims to “prevent suicide by providing obstacle free treatment for musicians suffering from depression and other such disorders,” fill an important need, here – but it is notable that many who suffer from depression are neither able nor willing to seek out such help on their own.
Accidents and unexpected illnesses arise as frequently among artists as they do in the population at large, too. Our recent review of this summer’s tributes included If You Wait Long Enough: The Songs of Will Stratton, a benefit album for the young indie singer-songwriter and composer whose cancer diagnosis last year “illuminated the conflicted plight of artists in a world where medical bills are often unaffordable for those working outside the world of 9 to 5 employment.” And indiefolk duo Brown Bird, who have not formally recorded any covers, but whose songs are already finding substantial coverage in the pages of YouTube, remain on hiatus and functionally unemployed while lead vocalist, guitarist and lyricist Dave Lamb struggles with leukemia.
In Matt’s honor, then, and in keeping with our artist-centric focus, for the next month, 20% of all donations to Cover Lay Down will be re-gifted to Sweet Relief, a non-profit founded in 1993 to support musicians who find themselves in “untenable predicaments” due to illness or disability, such as Vic Chesnutt and Victoria Williams, both of whom benefitted from Sweet Relief tribute albums and concerts. Those who wish to honor Matt directly can also give to ANAD or NEDA, a pair of support organizations that were an important part of Matt’s life for many years; those who wish to lend their support in other ways are encouraged to consider the other causes listed above. And, as always, we urge all readers to patronize the arts by buying albums, attending shows, and giving to those projects and causes which support struggling artists, the better to ensure the health and good fortune of those who explicate the world on our behalf through song.
Some favorite covers from Matt Ryd’s Mailing List collection, in tribute…
- Matt Ryd: Romeo & Juliet (orig. Dire Straits)
- Matt Ryd: Poker Face (orig. Lady Gaga)
- Matt Ryd: Signed, Sealed, Delivered (orig. Stevie Wonder)
- Matt Ryd: King of Wishful Thinking (orig. Go West)
- Matt Ryd: The Luckiest (orig. Ben Folds)
- Matt Ryd ft. Liana Modestas: Marry You (orig. Bruno Mars)
…and from a few other folk artists and singer-songwriters mentioned above, whose voices have been silenced or stifled by illness, injury, and pain.
- Magnolia Electric Co.: Lawyers, Guns and Money (orig. Warren Zevon)
- Vic Chesnutt: Buckets Of Rain (orig. Bob Dylan)
- Vic Chesnutt and Liz Durrett: Somewhere (orig. West Side Story)
- Victoria Williams: Reckless Kind (orig. Richard Thompson)
- Dave Van Ronk: Didn’t It Rain (trad.)
Always artist-centric and ad-free, Cover Lay Down shares new songsets and coverfolk features weekly. Want to help support our mission and the artists we celebrate? Donate to Cover Lay Down before September 20th, and we’ll regift 20% of your donation to Sweet Relief!
Though the folk camp skews older, it is not irrelevant that I am older than most music bloggers. Age matters, in the intersecting world of music and homage which we inhabit. Our tastes are formed by the mass media clutter and the countercultural alternative scenes of our own individual youths; even as our collections diversify and improve in time, our touchstone foundations are always a product of the worlds of our teens and twenties. My formative years covered the emergence of MTV, and assume the three minute narrative as compass and companion; I think fondly of cassettes, and think in CD format better than any; though we cover Dylan and The Beatles here too, the songs that ring truest as tribute to me spring from the 80s and forward, and from my father’s record collection.
Generational grounding is a common thread here at Cover Lay Down – I have made no secret of the ways in which my own time-and-space history brings me to Mary Lou Lord, Nirvana, or Michael Jackson, to pick a diverse sample. But in truth, there are more personal reasons to muse on aging today: as of yesterday, my wife is 40, too; today we head North for an in-law’s retreat in the woods to celebrate, with friends and family, food and drink.
But although we exchange our trinkets, gratefully, gifts seem trivial: we are young at heart, and work hard in our own ways to model youth for our children, and to maintain a seemingly effortless and innate childlike wonder. Most days, that is blessing enough.
To be fair, it gets harder every year to be young. But there is compensation: as I have come to own the winding path that has led me here, I find myself pensive yet fearless in the face of further age. And being here, now, without fear and with curiosity intact helps me be a better parent, a better husband, a better teacher, a better me.
Some songs about growing older, and checking in on the changes, then – covering the gamut from pensive to protesting, from aging gracefully to railing against the dying of the night. May you cherish the moments in time you inhabit, and put them away carefully when they are through. May you, too, sing your histories and futures.
- Getting Older: A Coverfolk Mixtape [zip!]
Cover Lay Down is back from the summer folkfields with new features twice weekly! See you soon!
Mail Call Coverfolk: New releases from
July 7th, 2013 — 01:50 pm
The Deadly Gentlemen, Antje Duvekot, Josienne Clarke & Ben Walker
The mailbag is stuffed to overflowing, so we’ll take the week to dig in, starting with news of three beloved folk artists whose work we’ve covered before. As always, if you like what you hear here (hear, hear!), don’t forget to follow links to purchase works and attend shows in support of these artists, the better to support the continued production of folk as a viable outlet for artists and fans alike. Enjoy!
I’ve made it to Grey Fox Bluegrass Festival a number of times over the years, and touted it on these pages almost as much as Falcon Ridge; this year’s roster is startlingly good, with double sets from The Deadly Gentlemen, Thile and Davies, Infamous Stringdusters, The Duhks, Devil Makes Three, and Carolina Chocolate Drops bringing extra energy to the usual stellar set of long-time legends. Sadly, I’ve a family obligation this summer that will keep me from its fields and stages, but this long-time winner of the IBMA’s “Best Fest” award is a delight; gates open in nine days, and if you can make it up to Oak Hill, NY the third weekend in July, I highly recommend it.
I will be making it to the Lizard Lounge in Cambridge this Wednesday, July 10 for what promises to be a smashingly funky second-night CD release party for newly signed Rounder Record recording artists and Boston Bluegrass experimentalists The Deadly Gentlemen, who we’ve been following since their founding at the hands of Crooked Still alum Greg Listz. As is made eminently obvious from first single Bored of the Raging – currently available free as a teaser – Roll Me, Tumble Me, the new album from this talented collection of young folks, is quite mature for a sophomore outing, with elements from playful jamband and jazz pushing the limits of whimsy and wit in bluegrass, resulting in a rich, crisp, substantive sound emerging from the band’s incredible mix of talent and craftsmanship. The originals it contains blow the mind, and so do these recently recorded covers; if you’re not a Bostonian but are equally eager to catch them live, either Grey Fox or their official release party in NYC Tuesday the 9th at Joe’s Pub with opening girl-group trio T.H.E.M. would serve.
- The Deadly Gentlemen: All You Fascists Are Bound To Lose (orig. Woody Guthrie)
- The Deadly Gentlemen: The Kids Don’t Stand A Chance (orig. Vampire Weekend)
- The Deadly Gentlemen: A Touch Of Grey (orig. Grateful Dead)
- The Deadly Gentlemen w/ David Grisman: Dead Flowers (orig. Rolling Stones)
As we noted to regular readers of the Cover Lay Down Facebook page back in November, Antje Duvekot’s 6-track YouTube covers series last summer featured stunningly sweet solo takes on Paul Simon, Jason Mraz, Hank Williams, and more, leaving us chagrined to find it so late in the game. Now, only three albums into a well-celebrated and highly respected rise to singer-songwriter fame, the German-born, Boston-resident artist brings the covers concept back for “Undercover with Antje“, a new monthly YouTube series featuring duets with what promises to be a strong set of fellow coffeehouse travelers. The mix currently includes collaborations with Falcon Ridge 2013 Emerging Artist Brad Yoder, Red Molly siren Molly Ventner, and young pianofolk singer-songwriter sensation Seth Glier, on some surprising choices of song; upcoming collaborations will feature Meg Hutchinson, Ellis Paul, Anne Heaton, and more luminaries from the Boston scene and beyond.
As a bonus for coverlovers and fans, Duvekot’s webpage notes an EP recorded over a May weekend, with three covers and two originals, to be released soon; her new take on Dylan’s The Times They Are A Changin’ alone reminds us just why we celebrate her performance. And a solo ukelele take on Richard Thompson’s Beeswing, posted just a few months ago, is gentle as the breeze.
- Antje Duvekot & Seth Glier: Fire and Rain (orig. James Taylor)
- Antje Duvekot & Brad Yoder: Mein Fahhrad (orig. Die Prinzen)
- Antje Duvekot & Molly Venter: it’s a Hard Life Wherever you Go (orig. Nanci Griffith)
Antje Duvekot: Beeswing (orig. Richard Thompson)
Among the familiar faces in the inbox this month we’re pleased as punch to find Josienne Clarke, whose small but growing body of work so impressed us when we discovered it back in 2011 on the backs of her stunning first collaboration with instrumentalist and producer Ben Walker. And we’re especially thrilled to find the two names tied together again: because pairing deepens the bond, sophomore duo albums often turn out stronger than their predecessors, and in this case, the stage is set, as Walker and Clarke have been hard on the road since we last checked in on them, touring on the strength of a small EP of originals even as they win awards abroad for their ongoing plumb of the depths of beauty in the old songs.
Sure enough, though the bar was set quite high by The Seas Are Deep – Clarke and Walker’s first take on the body of traditional music of and beyond their native British Isles – new release Fire and Fortune, which drops July 22 in the UK, and July 30 in the US on Compass Records, is easily equal to the task. Clarke’s mature, deceptively simple interpretation of timeless traditional laments and original ballads, Walker’s stunningly subtle fretwork, and inspired settings of low winds, gentle piano chords, and soaring strings combine marvelously, making a fragile atmosphere that welcomes even as it warns. The result: a tight, flowing work that remains “a perfect balance of both classical voice-and-guitar folk and traditional balladry”, “delicate, crisp, subtle and nuanced, and beautiful in every tiny moment” even as it cuts to the core. Check out the video for their title song – an eerie gospel hand-clap-and-stomp driven original that plays silence and darkness under a deceptive shell – a live track from 2011, and two tracks and an unreleased also-ran from the sessions that produced the upcoming album – then preorder here.
- Josienne Clarke & Ben Walker: The Outlandish Knight (trad.)
- Josienne Clarke & Ben Walker: Hares On The Mountain (trad.)
- Josienne Clarke & Ben Walker: My Donal (trad.)
Looking for more great coverfolk news? Stop in later this week for a huge New Artists, Old Songs feature, and a summer set of new and upcoming cover compilations and tribute albums…and don’t forget to like our Facebook page for bonus streams and videos!
I think we’ve written about The Falcon Ridge Folk Festival every year since our origin, making this a record-breaking sixth feature article on the same damn festival. But 25 years, two site changes, and one micro-burst tornado since its founding, the Falcon Ridge Folk Festival remains my favorite summer experience: a guaranteed go-to event that offers some of the best, most eclectic truly folk music on the circuit, in a lazy, generous atmosphere charged with joy.
As I’ve noted before, my affection for the fest is deepened by my involvement in its infrastructure: as Crew Chief of Teen Crew, married to the co-chief for Sign Painting, we arrive a full weekend early to work, and watch with awe and wonder as the open fields are transformed slowly into the home we love, and opened to the equally appreciative masses, even as the sight lines shrink. It is our haven, our Jerusalem, after 17 years of consecutive festivaling. We’ve even raised our children there, in ten day intervals in what we half-jokingly refer to as our real homestead.
But it’s not just us, and it’s not just the volunteers who feel the closeness. Outside of our embedded camp with its white picket fence, the festival ebbs and flows with the tides of wanderers and fans. All night, the hills echo with campfire sessions and songwriter swaps. I know there is love in each circle. And those who join the fray come back, to be welcomed with open arms.
As with many festivals, Falcon Ridge has teetered on the edge of uncertainty in recent years. The move to the first weekend in August is both an attempt to avoid the weather that nibbles away at sustainability, and to cancel out any conflict with other neighboring festivals, such as Newport, which might have found favor with an overlapping fan base.
By universal consensus, however, this year’s 25th anniversary celebration pulls out all the stops. Strong past-favorites returning for the anniversary run the gamut, with well-traveled solo singer-songwriters Dar Williams, Ellis Paul, Eliza Gilkyson, Susan Werner, Vance Gilbert, Dan Navarro, and Mary Gauthier coming home to lead off a stunning roster that also includes everpresent psychedelic folkrock bands The Grand Slambovians and The Kennedys, formed-at-Falcon-Ridge trio Red Molly, tradgrass pickers Chester River Runoff, the high-energy sounds of folkband Spuyten Duyvil, and half of long-disbanded fest faves Moxy Fruvous.
And kudos to organizers, who continue to bring in great new acts from the expanding indie-traditional genre space to complement the familiar faces, and honor the vibrancy of modern folk. I’m especially looking forward to hearing Poor Old Shine, an acoustic Americana quintet whose late 2012 live album sports a vibe not unlike that of the Avett Brothers and The Low Anthem combined with The Mammals and The Band, and who earned their place on the mainstage through top audience honors in the 2012 Emerging Artist’s Showcase, alongside equally potent trio The YaYas and the gentle harmonies of Gathering Time. Also high on the don’t miss list: The Stray Birds, a sparse fiddle-and-guitar-led tradfolk trio whose harmonies are sweet and light, and who have garnered no small amount of indie cred in the last year for their newest self-titled album, a timeless, aching piece of work that hasn’t left my CD changer in months, and Roosevelt Dime, who we celebrated here way back in their early days and ours, and who will be playing the entirely festival-independent but always welcome “pop-up” Lounge Stage on Thursday atop 10 Acre Field alongside a stellar all-day pre-fest line-up.
There’s always something to discover at Falcon Ridge, of course. Kids are welcomed with playtents and sun, crafts and all-day musical acts and jugglers; themed and cover sets at the workshop stage promise song-swap intimacy and sing-along choruses. The vendors and musicians are part of the community, and genuinely happy to be there – a rarity at larger festivals, sadly.
Some of my very favorite acts were introduced to me at Falcon Ridge, from Crooked Still to Joe Crookston, from Eddie From Ohio to Moxy Fruvous. Some of my very best friends and companions live there, too. It’s the place we love, and we’d love to have you join us, if you can. And even if you can’t, enjoy this year’s preview mix.
- Vance Gilbert & Ellis Paul: May I Suggest (orig. Susan Werner)
- Vance Gilbert & Ellis Paul: Comes A Time (orig. Neil Young) 
- Dar Williams: Highway Patrolman (orig. Bruce Springsteen) 
- Dar Williams: Troubled Times (orig. Fountains of Wayne) 
- The Kennedys: When I Go (orig. Dave Carter) 
- The Kennedys: Chimes of Freedom (orig. Bob Dylan) 
- Eliza Gilkyson: Sleeper (orig. Greg Brown) 
- Eliza Gilkyson: Is It Like Today (orig. World Party) 
- Susan Werner: Vincent (orig. Don McLean) 
- Susan Werner: Something So Right (orig. Paul Simon) 
- Gandalf Murphy and the Slambovian Circus of Dreams: Like A Rolling Stone (orig. Bob Dylan) [unknown source]
Download the entire 21-track Falcon Ridge 25th Anniversary Preview mix!
As a bonus: a discussion of best Falcon Ridge musical moment on the FRFF Facebook Page reminded me of this collaborative Cat Stevens cover, filmed live from mainstage in 2007. Perhaps we can convince Dar and Gandalf to stage a repeat performance this summer. You won’t know if you don’t go.
New Artists, Old Songs (Re)Covered
June 9th, 2013 — 04:17 pm
Part 1: Kelley Ryan, Mikaela Davis, Angel Snow, & The Big Bright revisited!
The myriad blessings of music blogging include promotional outreach from fledgling artists, and though not all are to our taste or temperment, a surprising number have turned out to be diamonds in the rough – leaving us humbled and privileged to have been among the first to share and celebrate so many emerging singer-songwriters of promise and poise over the years.
This week, in a very special two-part thirtieth-or-so anniversary issue of our ongoing New Artists, Old Songs series, we check in on the continued rise and maturity of several musicians first featured here for their earliest work in the world of coverage – all one-time rising stars whose staying power and continued invention is evident in their ongoing careers.
Singer-songwriter and long-time frontwoman for grungy California sunshine rock band astroPuppees Kelley Ryan was in perfect-pitch popfolk mode when she came to us back in early 2010 with a Beck cover and a vibe that echoed his folk album Sea Change on her solo debut Twist. Three years later, her ear for the catchy hook remains solid, and we’re happy to see that continues to be garnering her the respect she deserves: her version of Monkey To Man, with its jangly, jumping Rickie Lee Jones meets Mary Lou Lord and Juliana Hatfield vibe, will appear alongside a crowd of equally on-the-rise artists on the ready-to-drop 50-track Elvis Costello tribute album Beyond Belief, a project to benefit the Mr. Holland’s Opus foundation.
- Kelley Ryan: Monkey To Man (orig. Elvis Costello)
Previously on Cover Lay Down
- Kelley Ryan: Lost Cause (orig. Beck Hansen)
Mikaela Davis’ solo harp-driven cover of Sufjan Stevens came to us as a one-shot ‘Tube Thursday post, putting it technically outside the New Artists feature set. But Davis, a Rochester, NY native who attends The Crane School of Music at SUNY, has since finished and released her self-titled debut album, a gorgeous collection that echoes with instrumental atmospheres, melodic tensions, and experimental indie sentiment, inviting easy comparison to indie harpist progenitor Joanna Newsome, and justifying any look back.
If the studio work proves anything beyond talent and craft, it is that Davis is no imitator: her voice is clearer and more concrete than Newsome’s, and her sentiment more pop. But her folkier side fills out nicely in her continued YouTube coverage – both in solo mode, as in the crystal-clear Elliott Smith cover first released back in October, and in live collaborations arranged for an equally atypical combination of instruments, as in the below take on Norwegian Wood recorded live last Sunday at the Bug Jar, which adds sitar and drumkit to the harp and voice for an immensely satisfying, completely psychedelic, and ultimately unsettling reinvention that flows smoothly from 4/4 mysticism to a tight jazz waltz bridge.
- Mikaela Davis: Norwegian Wood (orig. The Beatles)
- Mikaela Davis: Twilight (orig. Elliott Smith)
Previously on Cover Lay Down
- Mikaela Davis: Casimir Pulaski Day (orig. Sufjan Stevens)
If covers albums are a coverhound’s bread and butter, collaborations formed for the purpose of coverage are our just desserts: sweet with anticipation, occasionally cloying or overgenerous, but sheer delight if balanced well with bitter coffee and sincere sentiment. And so we reported on new collaboration The Big Bright with baited breath when they first emerged on the scene towards the end of last year, noting our familiarity with Ollabelle founders Fiona McBain and Glenn Patscha, and our strong affection for fellow reinventor and self-professed “neo-noir singer/songwriter” Liz Tormes – and were thrilled at the beauty in their paired arrangements of INXS and Tears For Fears, leaving us eagerly awaiting more.
Tantalizingly, I Slept Thru the 80′s, the full album of gentle New Wave Nocturnes which serves as an initial capstone for the shared love of “guilty pleasure vintage New Wave and ’80s Brit-pop” which forms the band’s raison d’etre, remains in the works, though the pre-release EP of the same name is available to New Yorkers exclusively at Little Marc Jacobs in the West Village and at live performances, and the newly-shared Walk Like An Egyptian which features on their homepage raises the bar for more sky-high. But as the tracks are completed, new video has found its way to the web, too – most recently a pair of startlingly tense, lush, echoey recordings from a Brooklyn stairwell that show the trio in fine folk harmonies and form, delivering on their promise to find the fragile in the noise, and making theirs one of the most anticipated albums of 2013.
- The Big Bright: Walk Like An Egyptian (orig. The Bangles) 
- The Big Bright: Only You (orig. Yaz)
- The Big Bright: Call Me (orig. Blondie)
Previously on Cover Lay Down
- The Big Bright: Don’t Change (orig. INXS)
- The Big Bright: Change (orig. Tears For Fears)
The singular artist featured atop the very first edition of our New Artists, Old Song discovery series sprung out of the ether on the strength of Fortune Tellers, an intimate, sweet collection of original songs that blew us away. Our 2008 interview even produced a manifesto for her coverage which seems to translate to her own work, too, saying that “I tend to crave a genuine credibility from an artist’s voice and lyrics –- songs in which I believe every word. If I’m able to put myself in the situation of a song and play the part, then I know it’s for real and I want to share it with others.”
Now, five years after we pulled her raw, jangly, surprisingly sparse live Bob Dylan cover from the mailbag and introduced her to the world, Angel Snow has become both a Nashville sensation and a songwriter to the stars, with three original compositions featured on Alison Krauss’ most recent album, and a reputation in the industry that has her performing regularly as a solo act (supported by Kraus’ brother Viktor), in collaboration with fellow circuit-travelers such as 2012 Kerrville New Folk award-winner Korby Lenker, and with fellow New Artists alumni Robby Hecht, with whom she performs some delightfully lo-fi and live covers as Marsha and the Martians. That it couldn’t be happening to a sweeter, more authentic person is merely a bonus.
- Angel Snow & Robby Hecht: Groovy Kind of Love (orig. The Mindbenders)
- Angel Snow & Robby Hecht: Take On Me (orig. A-Ha)
- Angel Snow & Korby Lenker: Tonight You Belong To Me (orig. Gene Austin)
- Korby Lenker & Angel Snow: Forever Young (orig. Alphaville)
- Angel Snow, Karyn Oliver, and Amy Speace: Can’t Find My Way Home / I Still Haven’t Found What I’m Looking For (orig. Blind Faith / U2)
Previously on Cover Lay Down
- Angel Snow: Meet Me In The Morning (orig. Bob Dylan) 
Like what you hear? Don’t forget to come back later this week for part 2 of our look back at the ongoing careers in coverage of Sophie Madeleine, The Far West, Josienne Clarke and Ben Walker, and more of our favorite once and still-emerging artists!