Archive for January 2015


Single Song Snowday: The Weight
(On Finding Balance with The Band)

January 27th, 2015 — 2:31pm





We’re fattening up my daughter, by which I mean that a year into her diagnosis of Crohn’s Disease she has trained herself to eat so little that she has grown dangerously thin and bony. The doctor has prescribed a 2500 calorie diet. And so the closet gets filled with sticky and salt, donuts and cookies in small packages, and we spend the day asking if she’s eaten, and can she eat again.

Two months ago, we had the opposite problem. The wee one wasn’t so wee after 6 months of steroids, and unlike her elder sister the stick figure, the nine year old cares about her looks; so much, in fact, that she’s asked me not to go into further detail here. Suffice it to say: so go the trials and tribulations of the immunodeficient, as we learn to balance the world on our shoulders, and live in the moment always.

Last year, before the wee one presented with her sister’s disease, I watched from the window as she tried in vain to apply her smaller form to the sledding hill, and trudged back, forlorn and angry, alone in the midst of a familial refocusing not yet hers to claim. But lifelong illnesses wax and wane, and today is a good day, brought on by too much snow and a rare day at home together. The roads are closed, and the sleds inflated; the girls huddle by their electric fireplace in the everything room, watching TV and preparing their bodies for a foray into the cold together. The weight lifts, and we are at peace with the world.



The Band is hard to collect through coverage; their chosen name is essentially un-googleable, confounding the collector’s usual search strategies. But the ragtag group of Canadian roots rockers that once formed the backbone of Dylan’s fuller sound is worth pursuit: their songbook still sings loud and clear through radioplay; their influence on the modern soundscape is clearly evident in the vast collection of coverage we have featured on these pages, all the way back to our very first post, where we celebrated Richard Shindell’s 2007 cover album with his version of Acadian Driftwood.

While often a delight, then, it’s no surprise to find The Band still covered. Their canon at its best is both electric with energy and highly narrative, its downtrodden everymen and eminently singable verse-chorus-verse structure ripe for interpretation. And although deep cuts covered bring a special and unique opportunity to reconsider their collection, there’s nothing so spiritually uplifting, in my mind, as The Weight.

Although spectacular on its own merits, and recognizably spread in short form in the film Easy Rider and concert footage from Woodstock, like many of our Single Song feature subjects, The Weight settled into the American Songbook after some particularly distinctive cross-genre coverage, including early versions by Aretha Franklin, Jackie DelShannon, and Diana Ross and The Supremes, which blanketed the genre spectrum with the song between 1968 and 1969. But the song, described by PBS as a masterpiece of Biblical allusions, enigmatic lines and iconic characters, is clearly one of The Band’s favorite songs to perform, as well. It appears on three separate live albums released in the seventies, and twice in The Band’s seminal concert film The Last Waltz – once in live performance, and once as a coda, in the studio with The Staple Singers.

Today, like greatest hits I Shall Be Released and The Night They Drove Old Dixie Down, The Weight remains a common enough cover in live performance, especially as a sing-along encore; several of our favorites, including a superstar-laden tribute from the 2014 benefit concert Love For Levon: A Benefit to Save the Barn, Gillian Welch and Old Crow Medicine Show in fine old-timey form, new weird American band The Hollows with hoot and holler, and a beautifully sung version from Dala with Oh Susanna and the Good Lovelies, sport a similar dynamic, with multi-artist cohorts taking the stage for a verse apiece, and joyful voices raised in harmony in the chorus, as they celebrate sets well played.

But in the studio, the song has seen more transformation. Rickie Lee Jones, on her recent deconstruction project The Devil You Know, takes the more extreme path, stripping the song down to a crooning, crying lament. Other sparse acoustic covers delight, as well: YouTubers Connor Pledger and Grace Albritton slide around the melody intimately, for example, while Robin Tesch sticks with solo guitar and a husky voice backed by light harmonies for a comforting, comfortable living room cover that pays apt homage.

The rest lie between, finding their own salvation and solace in the ultimately uplifting lines of first-person narration. Cassandra Wilson croons a soulful, lilting blues; German acoustic soulband Tok Tok Tok jazz it up with sax and a trio sound. Joan Osborne keeps the beat but adds full horn and organ production for funky minor key fare, while Ashes For Trees trend towards sweetness with mando and guitar, and singer-songwriter’s singer-songwriter Don Lange breaks the tune down to a troubadour’s walking blues; both Brian Fallon of The Gaslight Anthem and the touring trio of Tony Lucca, Jay Nash and Matt Duke drop the drums and bombast, too, keeping it wholly acoustic in radio performance. Little Feat and guitar wizard Jeff Healy keep it real as we’d expect them to. Bluegrass legend Marty Stuart even brings the Staple Singers back in, for a countrified yet faithful performance that shows just how well the song stretches out into other genres, finding its place in the various forms and fields that comprise the American roots landscape.

Enjoy the song, in every incarnation. And may your weight be lifted, too, wherever you may be.


The Band’s The Weight, Covered In Folk [zip!]


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3 comments » | Single Song Sunday, The Band

William Fitzsimmons covers:
Nirvana, Katy Perry, James Taylor, Kanye West, The Smiths & more!

January 24th, 2015 — 10:44pm




There’s something fun finding a song that people don’t take to be that serious …
is actually kind of heartbreaking and sweet and poignant. (William Fitzsimmons, 2009)


Pittsburg-bred artist William Fitzsimmons became an easy posterchild of the sensitive indiefolk movement in 2005 with a home-recorded debut that brought him MySpace popularity, early blog recognition from the hushfolk crowd, and tours with fellow social media-driven folkstars Cary Brothers and Ingrid Michaelson. But in many ways, his music was made for the loneliness and disconnectedness of the kitchen-table digital age: his performances are heartbreak incarnate, and a history of coveted soundtrack spots on indiefolk touchstones such as One Tree Hill and Gray’s Anatomy speak to the essence of quiet honesty in his work.

And Fitzsimmons – a gentle giant with a majestic hipster beard and a comfortably self-effacing demeanor on stage – comes by his heartbreak honestly. A multi-instrumentalist born to blind parents whose marriage fell apart in his adolescence, his 2006 sophomore effort explored their divorce, and his 2008 release The Sparrow and the Crow, which was lauded by critics, is an intensely personal exploration of his own.

Fitzsimmons knows emotion by trade, too, having left a budding career as a mental health specialist to pursue his music; if anything, his songs are an extension of the therapeutic urge, healing as they expose the pain. Add in his distinctive husky voice and pulsing, shimmery style, and the result is a constant comfort, reverent and hushed, as he caresses each song, offering little adornment and great reserve.

We’ve shared most of Fitzsimmons’ covers here in one mix or another; most recently, his take on Cat Stevens, recorded for last year’s tribute to the films of Wes Anderson, topped our Best Coverfolk of 2014 list. His take on James Taylor’s lullaby You Can Close Your Eyes is an oft-resurrected addition to our kidfolk compilations. And we highly recommend his original work, most especially 2014 release Lions, and The Sparrow and The Crow, both of which delve deep into introspection, and unsettles the soul.

But while the short arrangements Fitzsimmons prefers in performance makes each song a fleeting moment of quietude and respect, gathering his coverage in together allows for a steeping perfect for the first real snow outside, and the hush of winter. Click through for an EP-length compilation of our favorite studio covers, and then stick around for a trio of live-in-concert video covers, including a sublime take on Wonderwall, and a Tom Petty cover that will have you checking his tour schedule for more.



    William Fitzsimmons: Wonderwall (orig. Oasis)


    William Fitzsimmons ft. Gungor: Wildflowers (orig. Tom Petty)


    William Fitzsimmons, David Bazan, Abby & Noah Gundersen, Chris Carraba: I Shall Be Released (orig. Bob Dylan)



Proudly ad-free and artist-centric since 2007, Cover Lay Down shares artist features, and coverfolk collections regularly here and on our Facebook page. Donate now to help support our continuing mission, and receive an exclusive mix of over thirty otherwise-unblogged folk, roots, and acoustic covers from our 2014 archives as our gift to you!

2 comments » | Featured Artists, William Fitzsimmons

Unity House Concerts Presents: Jean Rohe and Jay Mankita
(January 17, 2015 @ UU Society of Greater Springfield)

January 12th, 2015 — 1:55pm





Cover Lay Down is proud to present Unity House Concerts, a new folk-and-more music series hosted by yours truly and the Unitarian Universalist Society of Greater Springfield.

Concerts are held in our own wooded sanctuary, and feature a combination of well-beloved musicians and new folk voices committed to the UU Coffeehouse tradition of channeling the spirit of community through song.

Our 2014-2015 season features artists from the Northeast, including Meg Hutchinson (October), The Gaslight Tinkers (March), and our Winter show, a co-bill with Jean Rohe and Jay Mankita, two artists who speak truth to power with beauty, grace, and poise.



My first encounter with the visionary songs of Jean Rohe this summer at a side stage at the Falcon Ridge Folk Festival was so stunning, it left me in tears; I had to leave the tent, and so I missed the rest of her tiny in-the-round set.

Approaching Jean again during the festival and asking her to join us at our fledgeling UU Coffeehouse series this year was a no-brainer, especially after her full band wowed the crowd in their Emerging Artist Showcase set the following day on the mainstage. Waiting six months to hear her again has been the hardest part, but pulling the threads of the digital and recorded output has helped fill the void.

“A sure-footed young singer-songwriter” (NY Times) with a “unique musical voice that sounds like a love song for a world imperiled” (Albany Times Union), Jean Rohe captivates audiences with her intelligent well-crafted narrative songs and a unique, multilingual aesthetic fusion of traditional and modern folk, world beat, and jazz that speaks truth to power in equal measures of beauty and mysticism. The Brooklyn-based artist joins us fresh off her first European tour, accompanied by long-time collaborator and producer Liam Robinson on accordion, guitar, and voice, and we’re thrilled to have them both.

Even if you can’t join us, check out Jean’s carefully curated collection of albums and videos, especially 2014 release The End of the World Show, which one fellow musician at Falcon Ridge named their favorite album of the year. The album won three Independent Music Awards, and deservedly so: from its playful multi-stage packaging to the rich, layered, precisely arranged music it contains, the record is a gem, thick with found sound and poetry, international folkrock and world beat melodies, accompanied by crisp bowed strings and a full rhythm section. Similar praise goes to Lead Me Home, a sultry, subtle, potent and playful folk-meets-bossa-nova release from 2008 that includes several covers of popular Brazilian songs from the seventies among its set – and though it’s no cover, I can’t help but include the video of my favorite Jean Rohe original, the powerful National Anthem: Arise! Arise!, in today’s short set.


    Jean Rohe: National Anthem: Arise! Arise!


    Jean Rohe & Rogerio Boccato: O Morro / A Love Supreme (orig. Antonio Jobim / John Coltrane)



Jean is joined by Massachusetts-based American singer-songwriter and guitarist Jay Mankita, an artist well-known and well-lauded on the global stage for his earth-friendly, Grammy-nominated collection of kids albums and songs, and the messages of social justice and environmental consciousness they promote through playful, often hilarious sing-along rhythm and rhyme. (Rohe herself sang Jay’s lyrics as an introduction to her infamous anti-McCain speech at her New School graduation ceremony in 2006, making this a pairing too tempting to pass up.)

But Jay isn’t all kid’s stuff, as evidenced by the universal appeal of such “heart and soul” songs as Bread Alone, and 2004 release They Lied, and its title song, which deftly skewers the political scene of its decade but remains just as apt today. Jay’s songs for adults are equally playful, in their way, as his work for kids – see the video below, of his cover of Bob Blue’s lyric for Scott Joplin’s Pineapple Rag, for evidence of the close connection Jay makes with his audiences – and they retain their messages of social justice, environment, and community. And the breath of sentiment yaws wide, from bitter to wistful, as Jay speaks truth to power in his own accessible, fun way.

In performance, Mankita is “a musical pied piper; quick, nimble, and wonderfully crazy” (Margie Rosenkrantz, Director, The Eighth Step); his children’s show and chapel appearance last year made him a natural choice for return as we dig into our new Saturday series. But Mankita is also as humble as he is gentle. Last week, he touted Jean on his facebook page, noting that Arise, Arise will be appearing in Rise Again, the upcoming next-generation sequel to the seminal sing-along folk bible Rise Up Singing, but failed to note that THREE of his songs will appear in the collection, including From A Dog’s Stance – a delightful, wry parody of the oft-covered Julie Gold song – and Living Planet, which has already been covered by the likes of Emma’s Revolution, Kim and Reggie Harris, and Magpie.

A cover of, and a cover from, then, with our highest recommendations for Jay Mankita’s work, whether you’re a parent or just a fan of the good stuff from the sociopolitical side of the folksinger canon.


    Jay Mankita: Pineapple Rag (orig. Bob Blue / Scott Joplin)




Non-profit and ad-free since 2007, Cover Lay Down posts regular features on artists and songwriters as part of its continuing mission to ply the experience of coverage as a comfortable space for discovery. As always, we hope you’ll consider following the links above to hear more from and about the artists we feature, the better to support and sustain the arts, the artists, and the folkways.

And, if you live within driving distance of Springfield, Massachusetts – just a hop, skip, and jump away from Hartford, Northampton, and the Berkshires – we hope you’ll join us this Saturday, as Jay Mankita’s gentle wit and biting political satire, and Jean Rohe’s beautiful, visionary lyrics and masterful melodies, find full voice in the passionate, potent collection of songs they bring to our Unity House Concert stage. No reservations are necessary; Facebook confirmations greatly appreciated.

Comment » | House Concerts, Jay Mankita, Jean Rohe

The Year’s Best Coverfolk, vol. 2: The Singles (2014)
(b-sides, deep cuts, & more one-shot coverage)

January 1st, 2015 — 1:21pm





So much of what we have to offer went unblogged this year, though it lived in our hearts. And although those precious songs that remain when the detritus of the year is sifted through are an honest bunch, so are they a needful one, tainted by proximity to the pain of life that drove us to them, and back to them again.

And so there’s blues here, and frivolity, too, for when we needed the escape. Crooners, for holding; achers, for the empathy. Joy, to remind us what to cherish, in our darkest hours, and our brightest.

The songs that lasted, and stayed. The songs that sang in our hearts.

To sift through them again is to live the year over again in music. Words fail us. Better, as always, to let the music speak for itself.

And so we come to this, Cover Lay Down’s annual end-of-year coverfolk mix: not the best of an objective universe, but the songs that mattered, greatly, in our greatest need.

From madcap to maudlin, then. From respectful to irreverent, in their treatment of the songs of the air. From indie to traditional, and all the contemporary singer-songwriter, alt-country, and acoustic poprock genres in between.

This 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.

May the music go on forever. May the best of 2014 ring in our ears, and our hearts. May the new year bring comfort, and joy evermore.



The Year’s Best Singles: A 2014 Coverfolk Mix [zip!]



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 gift set of alternate favorites and rare covers otherwise unblogged. Click here to give – and thanks.

2 comments » | Best of 2014, Mixtapes

     

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