Category: J. Tillman


(Re)Covered In Folk: Neil Young
(45 redefining tracks from a decade in tribute)

March 13th, 2018 — 2:45pm

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It’s been ten years exactly since we last drilled down deep into the Neil Young songbook here on Cover Lay Down, in a short feature introducing the transformative all-female American Laundromat double-disc for-charity tribute Cinnamon Girl, accompanied by several exclusive label-approved tracks from that record and a delicious set of similar delights from The Wailin’ Jennys, The Indigo Girls, Emmylou Harris, Carrie Rodriguez, Elizabeth Mitchell, and more great folkwomen teetering on the well-traveled intersection of rock, pop, and folk.

A decade later, Cinnamon Girl remains a go-to exemplar in the world of coverage: a powerhouse indie collection, “a great and well-balanced listen from cover to cover”, and “the tribute album Neil Young has deserved for most of his long and prolific career.” Several of its covers, including Lori McKenna’s unadorned twangfolk The Needle And The Damage Done, The Watson Twins’ sweet Powderfinger, and Canadian duo Dala’s beautiful, wistful harmony takes on Ohio and A Man Needs A Maid, continue to stand out as true-blue favorites. And – since it is still available – we would be remiss in taking this opportunity to redirect you to it, that you, too, might revel in its femfolk-to-riot-grrl approach, and support Casting For Recovery, who aim to enhance the quality of life of women with breast cancer through a unique retreat program that combines breast cancer education and peer support with therapeutic fly fishing.

But just as the past must be celebrated, so, too, do our ears and hearts evolve. As listeners, our subjective evolution in that decade has brought us closer towards a subtle appreciation of the deconstructionist approach. As cultural explorers, we respect and recognize Young’s recent move to put his entire archive online for free – a move that will surely spark deep artistic exploration and new coverage going forward. As agents of discovery and spread, we celebrate the ongoing reclamation of the Canadian singer-songwriter’s prolific portfolio, even as we note its turn towards the trends and tropes of its next generation.

And so, today, we revisit the Neil Young songbook with a collection of covers recorded in the intervening decade that trend towards the broken and bent, and the mellow and melodic: an omnibus mix, coupling beloved recordings from folk, Americana, indie and roots artists with newfound delights from Bandcamp, YouTube, and other discovery spaces. May it stand as our solution for those who, like us, struggle to reconcile our distaste for the songwriter’s whine with our great respect and admiration for both the grit and elegance of his pen, and his vast catalog of poetic yet straightforward songs which continues to give voice “to the plight of the powerless and the disaffected in modern American culture.”

Neil Young, Covered In Folk (2008-2018)
* listen track-by-track, or download the whole mix here!

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2 comments » | (Re)Covered, Clem Snide, Covered In Folk, J. Tillman, Jeffrey Foucault, Marissa Nadler, Mark Erelli, Molly Tuttle, Neil Young, Reid Jamieson, Rickie Lee Jones, Sam Amidon, Tribute Albums

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

November 7th, 2015 — 9:10am

Pile-of-CDs

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


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






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


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




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

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





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




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

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


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

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



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

The Year’s Best Coverfolk, Vol. 1:
Tribute Albums and Covers Collections (2013)

December 29th, 2013 — 12:03am



It’s been an unusually sparse year here at Cover Lay Down, with several personal issues cutting into our awareness of the folkworld at large, and keeping us from blogging regularly. Of these, sadly, most have been ongoing: the elderchild still struggles to adapt to a life of pain and medicine; my students still struggle to take ownership of their education; my ability to remain whole as I try to balance family, work, volunteerism, and blogging remains shaky at best.

Add this to February’s unexpected server shut-down, which cost us a month of stress and five years of archives, and account for Kottke’s recent suggestion that blogs are dying, or at least, have taken a “diminished place in our informational diet,” and damn, it’s amazing that we’re still here at all, let alone ready to share our year’s best.

That we come to you at all for this annual ritual is startling enough to begin with; naming the “best” of anything is a dubious pursuit. As noted last year, we have a strong resistance to the hierarchical urge to rank and file. Though our lens may sometimes seem narrow from the outside, both coverage and folk come in many flavors and subtypes, and each can be done well; our focus on the breadth of musical expression often leans harder towards emergence, promise, and artist evolution than the next big thing because that’s the honest expression of how I think and hear. We find comfort and joy in so broad a mandate, and ultimately, take more delight in discovery than digs. There’s no true hierarchy of artistic output in my disheveled aural infrastructure, just a spectrum of successes and partial successes.

In that sense, we generally encourage others to accept the entirety of our year’s blogging as our recommendations list for the year: if it weren’t among the best things you’d hear all year, it wasn’t worth posting in the first place. If you’re not a regular reader, and you’ve been directed here by recommendation or accident, we highly recommend taking the time for your own skim of the archives sometime, the better to experience the miracle of craft and interpretation that is the modern folkways in all its glory.

To go through the motions of capturing, compiling and celebrating our favorite albums of the year after such a fragmented, disruptive pattern of listening seems like an exercise in hubris. To do so when we have always eschewed both the critical lens and the hierarchical trend seems doubly so.

But Cover Lay Down will not go gently into that goodnight – and in many ways, the larger context makes this year’s Best Of 2013 sets more needful than ever. For as long as music serves as salve and salvation, then we must also accept that the ongoing search for new artists, new collections, and new transformations is part of the human pilgrimage – and that each new discovery serves the soul both spiritually and medicinally.

In this sense, the annual archival sift that prepares us for our end-of-year pursuit is an inherent part of the journey – a recentering, that helps us revisit and recover tribute albums and cover compilations otherwise too easily lost among the detritus of a life lived in chaos. The mere act of listening closely again, and struggling to identify that which transforms the various parameters each song, album, and collection sets for itself to become something new, and wonderful, is worthy, indeed.

As a bonus, stepping back to view the year all-at-once reveals new trends, new patterns, and new paths which we may not have seen from week to week, as we steep in the new, and descend into the focused themes upon which we have set our store. In this case, such a process is especially beneficial, as it helps us reconstitute the unusually scattered plot that has resulted from an exceptionally scattershot year. And, as always, this affects the categories we use to frame and represent our favorites: this year, for example, we have decided to distinguish between multi-artist mass market tribute albums and blog-curated tributes, the better to feature larger, less polished collections which focus on lesser-known artists and decidedly lo-fi production values.

And so, though the process is corrupted, and though we still find our conflicted or even confused by the tendency of other blogs to criticize as well as celebrate, this week, we present our annual two-volume year’s end review of the best folk, roots, indie, and Americana coverfolk of 2013 – starting, today, with a comprehensive categorization of those albums, EPs, and collections which rose to the top of our playlists and hearts.

A final note, before we delve into delight: because it is borne of personal stress and sorrow, the collection that follows comprises not so much of the albums that stuck through us with the year, but a strange combination of the ones we wish we had time to listen to more often, and the ones which we played incessantly, for weeks upon end, when we most needed comfort in the midst of chaos. More than ever, it is incomplete, subjective, and in some ways, accidental; indeed, for the first time, a significant portion of the albums mentioned below went unblogged in the first place – a testament to our corrupted ability to track the release calendars, and attend to the constant mailbag stream. But the final product stands as another testament, nonetheless: to the albums and EPs which stayed with us through thick and thin, made all the more glorious for the rocky path we took to get here.

Today, then, we are proud to present Cover Lay Down’s annual compilation of the Year’s Best Coverfolk Collections, arranged into categories much like those which we would use were we in the habit of ranking, to be followed closely, as always, by a mixtape of the best coverfolk singles of the year. Both we offer with undying thanks to the labels, the artists, the fans, and you, for holding us up, and in, and close, when the world keeps spinning right round, like a record.

COVER LAY DOWN PRESENTS:
THE YEAR’S BEST TRIBUTE ALBUMS AND COVER COLLECTIONS

[DOWNLOAD HERE]

The Year’s Best Tribute Album (multiple artists, CD release):
Reason To Believe: The Songs of Tim Hardin

Though other categories blossomed this year, it was a relatively sparse twelvemonth for mass market multi-artist tribute albums, with several solid collections emerging as early contenders in the first few months only to remain on top of the heap as the year trickled onwards. As is often the case for tributes, anniversaries, illnesses, and death dates were the primary drivers of artist homage, but it was also the year that Peter Gabriel reciprocal covers project I’ll Scratch Yours finally came together as a cohesive collection, legitimizing Bon Iver’s dreamy, layered take on Come Talk To Me two years after it hit the blogs…and reminding us that when it takes three years to release an album, there is often a good reason.

Live albums in this category were also less successful, though certainly just as well-intentioned; Nick Drake tribute Way To Blue and Sing Me The Songs, which records a concert celebrating the works of Kate McGarrigle, each contain a couple of tracks worth mentioning, but overall, the heavy stamp of consistent performers and the usual challenges of live soundboard mixing make for too little diversity, and too much sameness. Pity, that – though there are plenty of Drake tributes to pick from in the wider world, we’ll hold out hope that time and temper will lay a better foundation for a proper McGarrigle tribute.

But of the studio collections, two stand out for their breadth and beauty, proving the test of time after jumping early out of the proverbial gate. The first, The Music Is You: A Tribute To John Denver, is “a powerful addition to the canon of coverage,” with more than a few tracks standing out as achingly perfect visions and revisions of the artist’s lifework, and a solid mix of contributions from old standbys such as Evan Dando, Dave Matthews, Mary Chapin Carpenter and new, younger favorites like Barnstar, Josh Ritter, Amos Lee, and Brett Dennen bringing a yawing but startlingly successful breadth to the collection. Reason to Believe: The Songs of Tim Hardin, on the other hand, with its primary focus around a stable of artists on the indie and indiefolk line, is both beautifully broken and more consistent, making it deeper in its way – a fair measure of single artist tribute, and thus deserving of top honors.

The Year’s Best Tribute Collection (multiple artists, free/streaming):
Long May You Run, J. Tillman Revisited

As noted above, we’re splitting our multi-artist tribute category this year – a strategy we’d ordinarily reserve to account for an unusually bountiful harvest. But in this case, the split we’ve chosen is natural: there’s a vast difference in curation between label-driven tribute albums and blog-solicited collections. And so we turn, distinctly, to those tributes populated by relative unknowns favored by the individual blogger who envisions, solicits, and puts the compilation together; it often sprawls far past the typical size of an album intended for hard-copy release, and may include multiple versions of the same song. And our access to the two types is vastly different: the former is generally for sale, with but a sample or two available for blog posting; the latter are generally free and/or stream only, populated as they are by truly independent players on the margins of genre, giving newfound meaning to the term “indie” after years of subsumption by the mass market.

This new category is no novelty: in past years, solicited collections have appeared on Stereogum, Pitchfork, and Paste; this year’s also-rans include a well-curated double-set tribute to The Postal Service album, and arguably, the Herohill-curated tribute to Leonard Cohen, which topped our list last year, would count in this category as well. But the shift in style and sound which springs from the fan-curated album at its best is exemplified by the clear winners in this category this year, Slowcoustic’s lovingly curated double-sized tributes to J. Tillman and Damien Jurado. In our original reviews, we called Long May You Run, J. Tillman Revisited, Slowcoustic’s emergent homage to Tillman’s oddly titled seminal sophomore solo album, “a triumph of curation and performance: appropriately imperfect, definitively Tillman, and shockingly diverse,” and we stand by that measure, though we also highly recommend the overstuffed Jurado tribute as well, for much the same reasons; taken together, they practically define a tiny quietfolk subcommunity at the heart of modern folk experimentation.

The Year’s Best Tribute Album (single artist):
Dawn McCarthy & Bonnie Prince Billy, What The Brothers Sang

It was the Year of the Everly Brothers, with three full-album tributes on the docket: a sister act, two indiefolk mavericks, and Norah Jones and that guy from Green Day. Of these, we were surprised to like the Norah Jones/Billy Joe Armstrong collection, and pleased to hear favorite second-generation singer-songwriters The Chapin Sisters slick their hair down so faithfully; both, in their own way, are worthy of a second listen. But the deconstruction wrought by Faun Fables frontwoman Dawn McCarthy and indie maverick Bonnie “Prince” Billy on What The Brothers Sang is too potent and too precious: Oldham’s broken baritone and McCarthy’s warm alto establish a complex tapestry of sound, and their tendency towards languid arrangement and more obscure set pieces is quite something. The album is flexible in its treatment of the songbook, with each song rebuilt as a discrete genre expression with respect and not a little experimentation, making for a diverse and deeply intimate, but often tense and broken resurrection well worth repeated listening.

Honorable mention here goes to Noam Pikelny and Chris Thile, who used their time off from Punch Brothers touring to interpret two vastly different collections from almost diametrically opposed ends of the musical spectrum. We wrote about master mandolinist Thile’s all-classical, all-Bach album in July; Noam Pikelny Plays Kenny Baker Plays Bill Monroe – the banjo player and bandleader’s cover album of a cover album, which treats Baker’s seminal set of Bill Monroe tunes reverently – passed us by when it first came out, but the bluegrass purist in me loves it dearly.

The Year’s Best Tribute EP:
Nathan Edwards, The Music of Stephen Foster

With 8 tracks, Nathan Edwards’ celebration of the music of Stephen Foster is a hybrid album, almost – but not quite – too long to be an EP. But it remains a powerful high point in an otherwise sparse category, and since we put it just fine first time around, we’ll merely note that the warm vocal tones, exquisite instrumentation, and loving research which underlie this small-yet-ambitious project provide a unifying force that transcends mere songbook commonality…the result is seamless: a truly transformative yet eminently honest set that succeeds in its promise of updating the old songs for modern ears, finding the indiefolk, Americana, country and soul in songs long embedded in our national psyche. Amen.

The Year’s Best Covers Album:
The Big Bright, I Slept Thru the 80’s

We first featured two pre-release covers from The Big Bright last year, including their INXS cover in our Year’s Best Singles, and noted an EP-length pre-release floating out in the the ether more than a few months ago, making for an exceptionally long tease up to a December 2013 release for the fully realized album those smaller bursts claimed to anticipate. But in the end, the anticipation only made the final product sweeter. I Slept Through The 80’s is exactly what it promises to be – a loving deconstruction of 30 year old MTV new-wave and brit-pop hits, reimagined as soft, supple acoustic dreampop lullabies, with guitar, folk harmonies, and a hazy atmosphere of memory – and we’re thrilled to have it.

Lissa Schneckenburger’s simply titled but exquisitely sensitive Covers album, which we celebrated in May, makes for a very close runner up: every note counts, and every note lingers. Tie for third place goes to new albums from Hurray For The Riff Raff and Scott Matthew, whose broken voices and simple piano and guitar arrangements chill and comfort. And if we’re going all the way to fourth, we’ll put in a bid for Mara Levine’s Jewels And Harmony, a warm, contemporary post-revival singer-songwriter covers-with-friends folk album.

Even with five records topping our list, these favorites edge out among a surprisingly strong field. Yet another covers record from Mark Kozelek, and folkpop cellist Ben Sollee’s free Noisetrade release The Hollows Sessions, both of which went personally undiscovered until Cover Me included them in their own year’s end list, garner honorable mentions for eminently successful if increasingly formulaic approaches to coverage, mostly because we just love how Sollee and Kozelek break down and rebuild. Mud, Blood, and Beer, the third album by acoustic britfolk covers band The Bad Shepherds, is surprisingly listenable for an album of punk favorites. And although we were thrilled to find his second volume of Fan Chosen Covers in the mix, having made this list three years running, Eef Barzelay is hereby disqualified for future consideration despite the successful Kickstarter-driven promise of a Sound of Music EP to come in the early months of 2014.

The Year’s Best Covers EP:
Hannah Read and Charlie Van Kirk, Covers EP

Lots here, too – and much of it free to fans, from the joyful transformations on Levi Weaver’s mailing-list gift Antipodes to the just-released new installment in Okkervil River’s Golden Opportunities occasional covers EP series, which is a bit raucous for folk, but ends on a mellow note with a track sure to feature in Vol. 2 of our series.

In the final countdown, we ended up favoring two albums, each powerful in its own way. The Stray Birds huddle close harmonies around a single microphone to take on their favorites from the countryfolk world, and come off sounding crisp and clear, a tradfolk trio inhabiting their favorite songs to play out triumphs and tears with aplomb. And although the build on Fleetwood Mac’s The Chain is too good not to share here, Hannah Read and Charlie Van Kirk’s cover of MGMT’s Kids is truly definitive – which is really saying something, given how often the song has been covered. Add in a powerfully reconsidered, eminently deconstructed version of Nick Drake’s Riverman and an utterly haunting Radiohead cover, plus free Bandcamp download, and we’ve little choice but to give Read and Van Kirk the edge.

The Year’s Best Streaming Covers Series:
Al Lewis, The Covers EP, Vol. 1

The five-song Al Lewis soundcloud series titled “The Covers EP, Vol. 1” would have made the EP covers category above, but sadly, it was technically ineligible, as it was released first as a series of singles, and only later retracked as a streaming EP by the artist himself, without title and in the same sequence as our own. No matter: it’s a good year for new categories, and a fair deal to acknowledge an ongoing shift in how artists release covers overall to nominate slow-release EP-length covers sets.

And though the pandora’s box that this category creates can be a slippery slope, restricting ourselves to finite sets of covers released in a single year provides a clear second place winner, too. Though the Morning Benders have changed their name to the aggressive and less memorable POP ETC since their bedroom covers collection first slammed the blogs back in 2007, the raw, organic four-set of covers posted on Soundcloud this year, started as a distraction from studio recording and ultimately touted as a series, delight as much as those long-ago covers did, reminding us just why we loved them so much to begin with. Honorable mention goes to Bess Rogers, whose pay-what-you-wish occasionals series Songs Other People Wrote drifted too far from folk after starting pure languid Kathleen Edwards-ian popfolk with a Gin Blossoms cover that rocks pretty, indeed.





The Year’s Best Kidfolk Covers Album:
Jackie Oates, Lullabies

Perennial category favorite Elizabeth Mitchell released several covers albums this year – including a co-bill with fellow kindie icon Dan Zanes and a tribute to Ruth Crawford Seeger’s Christmas collection – and both will find plenty of play in our house, though the kids have moved on to tweenpop. But Jackie Oates blew us away: the English folk singer and fiddle player was new to us, as are so many of the British-born lullabies and sleep songs she lovingly interprets on Lullabies, but the combination is rich and beautiful, delicate and sweet, with harmonies and drones echoing in the head, leaving an impression of something like the Unthanks for the slumbering set (and it turns out Jackie was a founding member, so no surprise).

The Year’s Best Tradfolk Covers Album (single artist): Sam Amidon, Bright Sunny South

It was a surprisingly rich field in the tradfolk category this year, from sea shanties to civil war collections to other collections that target time and place – and so, again, we split the category three ways, presenting single artist tradfolk albums separately from multi-artist concept albums and EP-length sets, as we have done for years in other categories, the better to distinguish between single artistic visions both small and large, and curatorial cohesion unified by genre, theme, or origin.

Single artist tradfolk albums are often heavy on the traditional, and more about saving the old sounds and celebrating the hand-me-down tradition; these albums do not so much celebrate artistic vision though interpretation as they celebrate authenticity through recreation – a valid and valuable pursuit, but less interesting to us as ethnographers of the covering folkways. But though it does tuck Mariah Carey and Tim McGraw covers in among the mix, Sam Amidon takes the tradfolk vein several steps farther, winning deserving kudos for Bright Sunny South, an album that represents the full maturation of his sound, with stunningly smooth, shimmery production finally allowing the frail and often meager instrumentation that Amidon brings to his interpretations to finally sound less lo-fidelity and more deliberately broken. As we said in our original entry, call it a thinker’s album, and give him the Grammy already, for nowhere else this year have we heard such intimacy, such clear recognition of the myriad paths of shapenote hymns and old-timey folk brought forcefully into the 21st century.

Runners up honors go to indie alt-folk collective Vandaveer for their murder ballads collection Oh, Willie, Please…, a stealth record that crept up on us unawares and then…wow.

The Year’s Best Tradfolk Covers Album (multiple artists):
Divided & United: The Songs of the Civil War and The Beautiful Old: Turn-Of-The-Century Songs
(tie)
No pirate albums here, especially given how scattershot Hal Wilmer’s second volume was in the end. But we do have two decidedly different yet equally honest tributes to time and place in Divided & United: The Songs of the Civil War and The Beautiful Old: Turn-Of-The-Century Songs. The former is more South than North in tone, and heavy on the bluegrass players, with country and folk around the edges, and an essence that’s honest and true; the latter, which catalogs its songs chronologically from 1805 to 1918, is a bit more diverse, but with some strong performances from Jolie Goodnight, Carrie Elkin, Richard Thompson and others who know.

The Year’s Best Tradfolk Covers EP:
Anais Mitchell & Jefferson Hamer, Child Ballads

In a category often populated by small sets produced on a whim, Anais Mitchell & Jefferson Hamer’s Child Ballads stands out as a hands-down winner this year. We named the collection, a close collaboration between two exceptionally talented players already at the top of their game, the go-to winner in this category way back before Spring; since then, numerous otherblog end of year lists have cited the album among the best, period. And we were right for all the right reasons: as we noted then, the album is fluid, engaging, clear as the running streams and lakes of its myriad stanzas, and equally adept in mournful darkness and moral tale, in its exquisite treatment of both the easily recognizable (Tam Lin) and several unusually obscure and under-covered selections…rightfully on its way to being regarded as masterpiece, a showpiece for how modern solo and duet forms can still find life in the sourcebook.

The Year’s Best Mostly Covers Album:
The Quiet American, Wild Bill Jones

When we created this category several years ago, we envisioned it as a way to honor those artists who saw coverage and interpretation as such a core component of their craft that they included multiple covers among the songs on a single album, the better to pay homage to their influences, and show their output as grounded in history.

Several fine albums fit the mold this year. Josienne Clarke and Ben Walker, who found fine fortune on these pages for both their debut duet release in 2011 and this year’s Midwinter, returned with Fire & Fortune, in which 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. And Night, a mixed-genre varietal, with classical pianist Simone Dinnerstein and folk artist Tift Merritt trading off genre origins from classical, pop, jazz, and original sources, is a vast and vindicating tour de force of artist and genre crossover. Both deserve year’s end recognition, and huge compliments.

But it is Wild Bill Jones, a stunning triumph from home-grown modern folk revival The Quiet American, that justifies this final category’s existence, and then some. The concept album by husband-and-wife duo Aaron and Nicole Keim is a tour de force, an utterly perfect concept album that collects and transforms traditional songs, timeless originals, and Daniel Johnston’s True Love Will Find You In The End into a seamless sepia-toned narrative of loneliness, loss, and love so smooth, you’ll need the liner notes to piece apart the sources. Kudos to the pair for validating our ongoing pursuit of coverage as folkways so well, showing just how valid and valuable the mix of original works and tradition can become in the hands of masters.

The Year’s Best YouTube Covers Series:
Daniela Andrade

Discovered while searching for popcovers to populate a YouTube feature, young Honduran-Canadian singer-songwriter Daniella Andrade stole our heart with a perfect pure voice and a gentle way with a guitar. She’s been recording and releasing videos since 2008, but this year was a killer; most recent cuts include several amazing collaborations, and a sexy, girlish cover of Santa Baby that sends us to the showers. Someone get this girl a label.

    Daniela Andrade: The A Team (orig. Ed Sheeran)

    Daniela Andrade & Gia Margaret: Summertime Sadness (orig. Lana Del Rey)

    Daniela Andrade x Jon Lawless: Hold On, We’re Going Home (orig. Drake)

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 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 donors will receive undying praise, and an exclusive download code for a special gift set of favorite 2013 covers otherwise unblogged.

6 comments » | Amos Lee, Anais Mitchell, Bess Rogers, Best of 2013, Hannah Read, J. Tillman, Jackie Oates, Jefferson Hamer, Josienne Clarke & Ben Walker, Lissa Schneckenburger, Nathan Edwards, Sam Amidon, The Big Bright, Tift Merritt, Tim Hardin, Tributes and Cover Compilations, Vandaveer

Long May You Run, J. Tillman Revisited
(with 3 exclusive tracks from the new Slowcoustic tribute album!)

February 27th, 2013 — 10:55am



By definition, a great tribute album must hit the mark in both homage and realization, proving worth and worthiness of the original artist and his canon through song selection and composition, while still demonstrating the value and validity of reinterpretation through a well-arranged and well-performed tracklist.

It’s a high standard, and in a lifetime of cover-chasing, we’ve seen less hits than misses, more also-rans than outright successes. But a rarified few aim higher still. Keeping to the same genre or subgenre narrows the parameters further, offering a particular challenge to those who could easily drift towards mere reproduction. Adding in other rules – using only independent artists, for example – makes for even higher walls, with even greater possibility of faltering. By the time we consider the possibility of the track-by-track album tribute, we find ourselves on the razor’s edge of daring: few albums attempt such a fine focus, and of those few that have tried in the past, many fall flat on one count or another.

By this standard, Long May You Run, J. Tillman Revisited, Slowcoustic’s emergent homage to Tillman’s oddly titled seminal sophomore solo album, is a triumph of curation and performance: appropriately imperfect, definitively Tillman, and shockingly diverse. The songs it contains yaw through an unexpectedly broad gamut, given their inheritance, but all are worth keeping, and a surprising number are startlingly beautiful and broken. And today, we are pleased and honored to bring you not one, but three exclusive cuts from this potent collection as part of a gradual-release experiment orchestrated by Slowcoustic host and project curator Sandy, aka Smansmith.

slowcoustic-logoThat Tillman’s album shaped Sandy’s own sensibility at “the unhurried side of Americana/Alt-Country/Folk/Indie/Down-Tempo music” is inherent in the project’s genesis; though there is an interesting diversity of interpretation here, unsurprisingly, as with the original, the mix here is almost universally lo-fi, and often quite raw; those looking for sweetly melodic, high-harmony singer-songwriter fare are missing the point.

But there are more things in heaven and earth than sweetness and light, both in and beyond the boundaries of emotional depth and qualitative excellence which the Revisited project embody. For one thing, there is more here than one might expect from an album paying tribute to a small 11-track original. The lack of physical media limitations in the digital age have brought us an increasing number of full-album tributes that go beyond the track-by-track boundaries of the original album, and Long May You Run, Revisited is no exception: there are 20 tracks here, with as much as three versions of some songs, making it possible to compare versions, or mix-and-match to make the ideal mix depending on the listener’s mood – and making the album that much more open-ended, which also, in its own way, reflects the open-ended fragility of the solo singer-songwriter approach which J. Tillman took in this early release.

The second-hand title of the original album begs for coverage in ways too obvious to mention, of course. Even the slow-leak incidence of the homage pays fitting tribute to its origins, in that like the original, which was originally recorded in a borrowed basement in the dead of winter, and released in a tiny run of 150 in 2006, the tribute is finding its way into the world in small bursts. Our own effort herein, then, becomes like one of the multiple spaces in which Tillman wrote his songs – a compliment to the several features which Slowcoustic has shared over the last several days, and will continue to mete out for the remainder of the week, until we find ourselves fully able to appreciate that rarest of tribute albums: that which lasts, and stands on its own as both tribute and celebration.

Today, then, we offer a trio of tracks which, up until now, have been heard by none save the artists, and by Smansmith himself: two which complete the first pass at the full eleven tracks on the original, and a second cover of Trouble’s Always Free, which – in that it is more rugged, and more lonely, than the Small Sur version of the same song that Slowcoustic shared yesterday in Part III of the ongoing release – seems a perfect pairing for the quiet, almost demo-quality gems from underground iconoclastic Lexington, KY-based singer, songwriter, and multi-instrumentalist Doc Feldman and Cover Lay Down fave and Yer Bird recording artists Pickering Pick.

All three share much in common: male voices, sparse setting, and subdued, almost heroin sentiment. But each is beautiful, proving the viability and value in the project overall. Check out the tracks below, head back to Slowcoustic to read and collect more from the project, and then keep an eye on that space over the next few days as the remaining tracks hit the web.

Pickering Pick: Jamestown Bridge (orig. J. Tillman)


Doc Feldman: Wayward Glance Blues (orig. J. Tillman)


Quarter Mile Thunder: Trouble’s Always Free (orig. J. Tillman)

Our bonus tracks today come from outside the J. Tillman catalog, where we find his own 2010 full-album tribute to the formative influencer who shares credit for the original album title of both tribute and original above. Like today’s feature, Tillman Sings ‘Tonight’s The Night’ hits the mark; pick it up, and listen alongside Long May You Run, J Tillman Revisited to close the loop of coverage and blog-born tributaries.

3 comments » | J. Tillman, Tribute Albums, Tributes and Cover Compilations

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