Cover Lay Down

The threads that entwine early country music and American folk music are clear and bright in the folkways. Early country came from folk, coupled with other Southern strands that would lead to the blues; before the folk-revival canonization of radio and festival genres in the 50s and 60s, the folk community welcomed country artists as their own.

But although it is common for modern folk musicians to pay tribute to the early blues and country songs of depression-era radio and the early Grand Ole Opry, and to certain subgenres such as outlaw country, outside of a smaller subsection of folk artists playing on the periphery where swing, honky-tonk, and bluegrass elements are second nature, they don’t always acknowledge their debt to the Nashville strains of modern country music, even in those subgenres which arose simultaneous with the revival movements.

Enter George Jones, a Texan by birth who found voice in the be-suited Nashville crowd in the late fifties, and never left, even as country began to branch out into country rock, outlaw county, and rockabilly forms. With an identity closely tied to his alcoholism, a hard-livin’ attitude which caused him to miss no small share of his own shows, a penchant for overspending and lawn tractor accidents, and four wives – including a stormy “country couple” pairing with country icon Tammy Wynette at the height of his career which produced at least one seminal album – Jones lived the country life, and the way he channeled this life into music was duly celebrated in the sixties, seventies, and eighties by peers and critics who saw him pour heart and soul, hardship and struggle into his music as he did that daily life.

Jones identified himself as having been pushed aside in the nineties by a move towards younger, more pop-influenced artists, and record sales alone tell us his read is accurate. But there was nothing personal in this shift. Although Jones primarily performed on acoustic guitar, both his generational perspective and the country band-driven and orchestrated elements he favored in his recordings placed him squarely in the same camp as other true-blue Nashville-era artists of his time and place, from Johnny Paycheck to Charlie Daniels, and their audience aged with them as the world changed.

But the emotional core of his songwriting resonates nonetheless. And that inimitable voice – sad and pensive, soulful and sweet – continues to be as recognized and recognizable as the songs he wrote and interpreted, many of which have become true-blue staples of the honky tonk jukebox.

Fittingly, when Jones passed last week at 81, it was primarily those artists who had been most directly influenced by him in the country world – both of his own generation, and relative newcomers such as Alan Jackson, Vince Gill, and Randy Travis – who stood at the forefront of tribute, recognizing their debt even as their presence acknowledges the shift in county over time. Still, with over 150 hit records in an alcohol-fueled lifetime of touring and recording, and a knack for getting to the plain-spoken heart of the sorrow and pain inherent in the human condition, even as the world moved on, it was almost inevitable that a few of Jones’ songs – both those which he wrote, and those which he made his own – would find their way into the hands of others outside of the genre.

Today, then, we explore just a few songs from that vast periphery where the genres blur, and folk meets country, in tribute to a seminal songwriter and performer whose voice and vices were hallmarks of a bygone era. From twang to stomp, from slight to sure, from folkies-gone-country to delicate singer-songwriter and indiefolk, the breadth of coverage alone offers ample evidence for a life well interpreted. Listen individually, or download the whole set as a zip file for a tribute set that’s as country as we get.

• Teddy Thompson: She Thinks I Still Care [2007]

• James Taylor: She Thinks I Still Care [1993]

• Deana Carter w/ Shooter Jennings: Good Hearted Woman [2007]

• Lucy Kaplansky and Richard Shindell: Good Year For The Roses [2007]

• Carrie Rodriguez and Ben Kyle: You’re Still On My Mind [2010]

• The Proclaimers: (I’m Gonna) Burn Your Playhouse Down [1987]

• David Rawlings and Gillian Welch: He Stopped Loving Her Today [2007]

• Joey Harkum: He Stopped Loving Her Today [2012]

• The Sacred Shakers: Taggin’ Along With Jesus [2008]

• Bonnie “Prince” Billy: Little Boy Blue [2006]

• Dave Alvin: What Am I Worth [1994]

• Grateful Dead: The Race Is On [1981]

• Kevin So: Pass Me By [2013]

• Nick Swan: Choices [2013]

• Elvis Costello: I Still Miss Someone / The Last Town I Painted (orig. Johnny Cash / George Jones) [2002]

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We’re in the midst of a short Spring series featuring this year’s early tributes and cover compilations, thanks to an unusually strong crop of those full-album sets which so often stand as the coverlover’s archival foundation. Last Friday, we kicked off our series with a look at The Music Is You: A Tribute to John Denver, sharing three tracks from the album and a Covered In Folk mixtape of relatively recent folk homage for comparison; today, we explore two different approaches to The Everly Brothers from The Chapin Sisters and Bonnie ‘Prince’ Billy and Dawn McCarthy, with a bonus set of coverage from the folk archives to follow.



Single-artist tribute albums are rare enough as it is. But in what can only be considered a curious confluence of events, 2013 will see two strong full-album tributes to close harmony duo the Everly Brothers – both by by folk duos, though from opposite sides of the contemporary genre spectrum.

The first of these, What The Brothers Sang – a pairing of frequent nu-folk collaborators Bonnie ‘Prince’ Billy and Faun Fables frontwoman Dawn McCarthy, preceded by a teaser leading-edge holiday video cover of Christmas Eve Can Kill You that made the rounds in December – comes from the indie side of the folkworld, and sounds it, with Oldham’s broken baritone and McCarthy’s warm alto establishing a complex tapestry of sound throughout, and a tendency towards languid arrangement and more obscure set pieces that brings out the maudlin. Overall, though, with true-blue rockers, slow folk tracks, and neo-traditional settings all in the mix, the collection as a whole comes out quite flexible in its treatment of the songbook, rebuilding each song 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.

• Bonnie ‘Prince’ Billy & Dawn McCarthy: So Sad [2013]
• Bonnie ‘Prince’ Billy & Dawn McCarthy: Devoted To You [ibid.]

• Bonnie ‘Prince’ Billy & Dawn McCarthy: Christmas Eve Can Kill You [2012]

The second Everly Brothers tribute this year will come from Cover Lay Down favorite family singer-songwriter pairing The Chapin Sisters, fresh off a month-long residency singing classic country songs at Pete’s Candy Store in Brooklyn, where they paid tribute to their own sibling harmony tendencies by performing light, sparse takes of family-harmony classics from The Louvin Brothers, The Carter Family, and, finally, an ever-expanding series of Everly Brothers hits on banjo and guitar in suits and slicked-back hair. The experience also led to the recording of The Chapin Sisters: A Date With the Everly Brothers, a dreamy cross-gender tribute that promises to play the songs relatively straight, albeit more tender, and with more than a hint of female twang; the album isn’t finished being paid for or packaged yet, but a Kickstarter gift at the above link now will net you the disk when it’s ready; in the meantime, there’s plenty of live and promotional footage to show us how sweet this one will be.

The Chapin Sisters: Crying In The Rain

The Chapin Sisters: Love Hurts (live)

The Chapin Sisters: Crying In The Rain (live)

The Chapin Sisters: A Date With the Everly Brothers (promo w/ samples)

More broadly, the influence of brothers Don and Phil is evident in both early and ongoing coverage of the Everly Brothers’ compositions throughout multiple genres, and in the ease with which songs originally recorded by them, such as B & B compositions Love Hurts, Devoted To You, and Bye Bye Love, have come to be considered popular and oft-misattributed standards – not to mention the continued misidentification of chart-topping songs performed but not originally recorded by the two, such as Gilbert Bécaud’s Let It Be Me, which came from France and traveled through the filter of American television before reaching the Everly Brothers’ ears.

And just as this year’s new tributes split the difference between the early popfolk elements and the country stylings which characterized the Everly Brothers work, so too do Today’s Bonus Tracks reveal a similar macrocosmic split in contemporary coverage writ large, with most artists adopting duo configurations to take on the close melodic harmonies of the Everlys even as their performances and arrangements yaw between delicate indiefolk and robust acoustic country and rock.

Especially dear pairings include the romantically-linked girls at the core of acoustic folkband The Ditty Bops, boyfriend and girlfriend Jenny Lewis and Jonathan Rice, Doc and son Merle live in concert, married tradfolk pair Pharis and Jason Romero, long time folk couple Sarah Lee Guthrie and Johnny Irion, and Teddy Thompson’s duet with his mother Linda, who also did a great duet with Sandy Denny on another Everly Brothers hit once upon a seventies. Even sibling fiddle-and-cellofolk pair Tristan and Tashina Clarridge, aka The Bee Eaters, sing in harmony, borrowing Aoife O’Donovan’s vocals, then trading off licks on their instrumental version of Crying In The Rain as if their strings could sing. In the end, of today’s set, only Rosie Thomas and Ed Harcourt, like Oldham and McCarthy, remain unlinked by blood or marriage – and save their harmony for the final verse, perhaps in penance.

• The Ditty Bops: Bye Bye Love [2006]

• The Bee Eaters: Crying In The Rain [2009]

• Jenny Lewis w/ Jonathan Rice: Love Hurts [2009]

• Rosie Thomas w/ Ed Harcourt: Let It Be Me [2005]

• Doc & Merle Watson: All I Have To Do Is Dream [1979]

• Sarah Lee Guthrie & Johnny Irion: Like Strangers [n/a]

• Teddy & Linda Thompson: Take A Message To Mary [2006]

• Pharis & Jason Romero: I’m Just Here To Get My Baby Out Of Jail [2011]

It’s shaping up to be another stellar year for album-length coverage, with pickings so strong we’re hard pressed to take them all on in a single feature without burying the lead. Indeed, in the few short months since the year turned, we’ve already featured close exploration of Anais Mitchell and Jefferson Hamer’s Child Ballads EP, touted Levi Weaver’s free-to-fans covers EP as a “darling indie set” well worth your time, and helped Slowcoustic’s double-length tribute to J. Tillman’s Long May You Run take flight.

But the hits just keep on coming, and we’re getting backlogged here at Cover Lay Down. And so, throughout the next week, we kick off Spring with a short series of coverage of new and impending tributes to The Everly Brothers, Tim Hardin, Nick Drake and more – starting with a close look at the newest tribute to John Denver, due to drop this Tuesday on ATO Records.



John Denver’s heyday was in the seventies, and I was born in 1973; as such, until quite recently, my primary experience with him had been through starring roles in Oh God and on my wife’s favorite Muppets holiday special, and that hazy collection of other television and film appearances which float through pop culture like echoes of past fame. But coverage will out, and The Music Is You: A Tribute To John Denver, which is due to drop on April 2, is a triumphant tribute to the oft-spoken singer-songwriter, one which has awakened in me an adult’s appreciation for the work that brought him to fame in the first place.

To be fair, as songwriter and composer, Denver is easy to underestimate. Many of his early, most familiar lyrics are neither complex nor emotionally disruptive; rather, they are loving and sentimental, and celebratory of the earth and its wonders both intimate and broad. His pure, warm voice and simple, flowing melodies are an especially effective mechanism for their lighthearted delivery, and it’s no wonder these are the songs that most associate with his career, and his legacy.

But a deeper look at the catalog reveals more breadth. There is heartache in Denver’s ongoing catalog of distance from his beloved mountains and family. There is anger, too, in works which address his beloved ecology, and in such political songs as Wooden Indian, in which Denver rails against the historical treatment of Native Americans. When he speaks plainly of distance, disconnection, loss and longing, Denver’s directness can pierce the heart.

Previous homage has found the appropriate balance of depth and simple poetic beauty in Denver’s delights and disappointments – see, for example, thorough coverage of the excellent tribute Take Me Home, a beautiful turn-of-the-century Mark Kozelek project featuring Red House Painters, Low, Bonnie ‘Prince’ Billy and others on the indiefolk outsider spectrum which brought a new generation of fans to reconsider the genius of his work, over at fellow coverblog Cover Me last April. And singleton covers abound, from the ubiquitous and prototypical Leaving On A Jet Plane and Take Me Home Country Roads to the raucous cajun folk of The Decemberist’s Please Daddy (Don’t Get Drunk This Christmas), Youth Lagoon’s dreampop Goodbye Again, new-age devotional artist Simone Vitale’s lilting Jamaican-rhythm Sunshine On My Shoulders, and Damien Jurado and Richard Swift’s lo-fi Follow Me, which transforms the song into a muddy jukebox ballad filtered through Phil Spector’s wall of sound and Roy Orbison’s heartache.

The Music Is You is a powerful addition to the canon of coverage, with performances that stir the heart even as they reinterpret and, in some cases, deconstruct the songbook. And although it is a cohesive collection, with My Morning Jacket, Dinosar Jr., Lucinda Williams, Evan Dando, Train, Emmylou Harris, and many more of the usual suspects for this generations indie tributes turning in exceptional performances, it is the newer, younger voices who stun more than anything: Brett Dennen’s cover of Annie’s Song, for example, brightens the soaring gentleness of the original to something sunnier and bouncier, and more contemporary; Amos Lee croons Some Days Are Diamonds, which Denver did not write but brought to the country charts, as a fine, soft, heartbreaking gospel blues; Josh Ritter joins old friends Mark Erelli and Jake Armerding for a sweet and gentle bluegrass take on popular Denver cover Darcy Farrow that rings of John Hartford’s, while Kathleen Edwards brings a contemporary weariness to All Of My Memories.

Add in Old Crow Medicine Show and Brandi Carlile, and you’ve got an album destined to become one of the great tributes of its age. Listen to a short set of label-approved streamers below, plus a bonus collection of other John Denver tunes covered in folk… and then stream the whole thing at NPR until the album goes live on Tuesday.

Amos Lee: Some Days Are Diamonds

Brett Dennen and Milow: Annie’s Song

My Morning Jacket: Leaving On A Jet Plane

Today’s Bonus Tracks:

• Rachel Haden: Poems, Prayers & Promises [2000]
• James William Hindle: Whispering Jesse [ibid.]

• Damien Jurado & Richard Swift: Follow Me [2010]

• Gypsy Soul: Take Me Home, Country Roads [2007]

• Chantal Kreviazuk: Leaving On A Jet Plane [2006]

• Youth Lagoon: Goodbye Again [2011]

• Simone Vitale feat. Teuranoa: Sunshine on My Shoulders [2010]

• The Decemberists: Please Daddy (Don’t Get Drunk This Christmas) [2007]

Cover Lay Down posts new features and coverfolk sets twice weekly thanks to readers like you. Donate now to help our ongoing efforts to support the continued existence and viability of folk, roots, and acoustic music and the artists who produce it.

Canadian alternative country singer-songwriter Fred Eaglesmith‘s down-to-earth approach to the universe comes from a rural farmstead childhood and a train-hopping past. And so, where other folk artists walk with their fans, Eaglesmith takes trains: both literally – Eaglesmith is known for his rail tours – and as a dominant subject, setting, and metaphor for a narrative approach more broadly grounded in engines, their various rural incarnations, and the escape they embody.

Eaglesmith’s delivery is raw as the bawdy stories he tells between songs in live performance: couched in a voice that speaks to the salt and gravel of the road, played hard and fast on fading guitars. His unreliable narrators aren’t sly; they’re just not deep thinkers, and so miss the nuances of their own stories even as those of us on the outside cannot help but empathize with their pain and ignorance.

It’s a poetic, Hemmingway-esque depth: easy to mistake as simple, more intelligent than it seems. And so, nineteen albums into a career which, like Springsteen’s or Steve Earle’s, ranges from solo acoustic performance to blasting roots rock, Eaglesmith is still not a household name, though his work is known broadly across both Canada and the US. Indeed, in many ways, Eaglesmith is a musician’s musician: not always well known to criticism, and not recognized beyond the borders of a dedicated fan-base, whose members call themselves Fredheads.

Both the pull of his songbook and the believability of his outsider stance have made Eaglesmith particularly attractive to a number of folk artists and roots rockers; of these, a surprisingly strong number, most particularly those who align themselves thematically and musically with bare-bones country music, have found their own voice inside the loneliness he paints. Our down-to-earth set of favorite coverage includes Mary Gauthier, who finds familiar demons of addiction and desperation in his street-level subjects; Kasey Chambers, whose covers of Water In The Fuel and signature song Freight Train span from gently pensive balladry to chug-a-lug barroom country; Heather Waters, whose Freight Train is equally frantic, just a little grassier, and a half-step up.

The Cowboy Junkies turn Carmelita slow and sultry alt-country, making the song inimitably their own. Todd Snider makes haunting hymn Alcohol and Pills a hard-beat country rocker for the fallen; Canadian roots rockers Blackie & The Rodeo Kings slide a rich contemporary bluesfolk tension underneath 49 Tons. Tamara Williamson strips down her usual indie alt-pop, transforming Spookin’ The Horses into a sparse, tender ballad with piano and classical guitar. Dar Williams brings an unavoidable sweetness to her version of Wilder Than Her, with Eaglesmith himself singing harmony, while Slaid Cleaves pulls post-Industrial Age poignancy from the loss of an old filling station in White Rose. We’ve even kept true-blue country artist Miranda Lambert in the mix, complete with country twang and harmonies. Together, they make an apt tribute to a grinning lifetime of gas and steel, illuminating the dark grim corners of life on the edge with laughter, grit, and precision.

• Mary Gauthier: Cigarette Machine [2012]
• Mary Gauthier: Your Sister Cried [2004]

• Kasey Chambers: Water In The Fuel [2000]
• Kasey Chambers: Freight Train [2000]

• Heather Waters: Freight Train [2002]

• Dar Williams: Wilder Than Her [1998]

• Miranda Lambert: Time To Get A Gun [2009]

• Todd Snider: Alcohol & Pills [2004]

• Slaid Cleaves: White Rose [2003]

• Cowboy Junkies: Carmelita [1996]

• Tamara Williamson: Spookin’ The Horses [2008]

• Blackie & The Rodeo Kings: 49 Tons [1999]

Cover Lay Down shares new songsets and ethnographic musings twice weekly thanks to the kind support of readers like you. Here’s how to do your part: