Category: Bonnie Raitt


One Good Year: Sweet Coversongs Celebrating One Year of Cover Lay Down

September 30th, 2008 — 08:37 pm

I didn’t deliberately time the creation of this blog to coincide with the Jewish New Year, a day of celebration and renewal ordinarily commemorated through consumption of apples and honey in hopes of a sweet new year to come. Indeed, given the odd lunar cycle of the Jewish calendar, it is purely coincidental that we find ourselves here today, once again looking back and looking forward, in the midst of a more spiritual mandate to do the same.

Problematically, however, I said it all pretty clearly back at the six-month mark. Saying so here profusely would be redundant. But having spent all day in temple, it’s hard to separate the very personal feelings of gratitude and mindfulness I feel at making it to my one year anniversary as a music blogger from the themes of change and community grounding which I have spent the morning pondering.

As such, where I used the half-year anniversary of Cover Lay Down as an opportunity to thank those vast and myriad influences and constituencies who have made me feel so welcome over these many months — the artists, labels, fellow bloggers, and readers like yourself — today, instead of merely repeating those same sentiments, I thought I’d take a moment to reflect on the blogger himself.

Because blogging has changed me.

My creative writing profs weren’t wrong when they said that fundamentally, writers write — that is, what makes a writer a writer, rather than just the originator of text, is not so much any innate quality but the honed craft that comes from exercise and sweat. I’ve heard it from songwriters, too, most recently from Kristen Andreassen: write the songs, and the best of them will emerge; write less, and less gems will hide among the lessened chaff. I do not claim to be a perfect writer, but I think I am coming to master my own flaws as an observer and chronicler of music, and how it connects to the world around us. And I am grateful, to all of you, for the continued validation of that writing which mere readership brings, let alone the kind words which artists and commenters have given me in thanks for writing.

Blogging about music, in particular, has also brought about a change in my listening habits. Where once I was content to leave things on shuffle, now I spend at least as much time making connections, searching for common threads, and immersing myself in the deep pools of a single artist’s output, that I might be able to truly describe in words what “works” for me about the song.

The immersive approach means less time for novelty — the trickle of label gems that currently finds its way to my mailbox is small by blogger standards, but more than ample enough for my habit. I’ve had to really push myself to attend shows and festivals these last few months, that I might discover new artists and songs to pass along to you; if it weren’t for a great set of bloggers out there I have learned to trust, I’d worry that I was falling into a rut, musically speaking.

But approaching music this way engenders a kind of listening which is wonderfully deep and immersive, and treating all music as potential blogfodder also means that I live my life as if I was blessed with two choice opportunities for making the perfect themed mixtape every week. And as those who grew up in the mixtape era know, there’s nothing more engrossing, no better opportunity for making connections between the soul and the music, than the quest for the perfect set of music, whether the planned motif is a single artist or a single song, a theme or a tribute.

In theory, focusing on what I know and can connect also means accepting the vast breadth of what is out there as both unknown and unknowable — the more you know, the more you don’t. For me, this has made it easier to accept the time and energy it takes to really focus on the moment granted by a single artist, sound, and song as a blessing, and be grateful for it. My recent trip to ICONS was better unplanned; by not worrying about making sure I was seeing the “right” artists, for example, I found myself in a tiny performance space, listening to a few great young artists out of the Boston fiddle-folk scene who will surely come up later here at Cover Lay Down.

If such focus is the goal, then I’ll be the first to admit that I’ve lost a bit of my focus over the past few weeks. It’s been a selfish period, I guess, what with my recent grief, and the stress of starting a new job; writing has always been easier than listening for me, and I’m afraid I’ve let the writing, not the song connections, become the focus a bit too often. Soon, I hope, I’ll be able to return to blogging with a primary focus on songwriters and songs, rather than the themed lists which have recently overwhelmed this blog. In the coming weeks, for example, I hope to be able to bring more new artists to the table, and more features on both the songs and the performance of lesser-known folk musicians who deserve the recognition.

But though today is a day of renewal, it is also just the beginning; there’s a reason why the liminal doorway opens for the next nine days in Judaism, rather than demanding that we return to our true, best selves all at once. In gratitude, then, for the opportunity, while I rewire the self for a continued focus on folk artists and their coversong, here’s one more long-winded post capped by another list of sweet coverfolk songs with a common topic, in hopes and well-wishes for a sweet new year.

Please, as always, treat these songs as but a marvelous taste of the work of some great artists, each of whom deserves your full (and financial) support. Played in order, they transition smoothly from folkpop to indiefolk by way of alt-country, bluesfolk, and a little freak folk; if you like them, just imagine the three dozen songs I rejected on my way towards making this one perfect blogbirthday mixtape.

May the new year bring sweetness, change, and a return to the true self for all of us.

772 comments » | Bonnie Raitt, Bridget Matros, Emmylou Harris, Guy Davis, Joan Osborne, Karen Dalton, Laura Cantrell, Nancy Elizabeth, Taken By Trees, The Weird Weeds

Denison Witmer Covers: Oasis, Big Star, Nick Drake, The Band, Bonnie Raitt and more!

September 20th, 2008 — 05:34 pm

Over the past few weeks, Philadelphia-based singer-songwriter Denison Witmer has released several relatively spare covers to the internet as promotional teasers, part of a mechanism to build buzz in anticipation of Carry The Weight, an upcoming album of original songs. The approach is a familiar one, seen in an increasing number of singer-songwriters and bands teetering on the indie boundaries of folk music — see, for example, the lo-fi bedroom covers of the Morning Benders, or the recently-featured popfolk take on the Smashing Pumpkins from newcomer Amie Miriello.

Overall, the phenomenon is especially validating, to me, because the use of covers as a familiar entry point to discover new musicians is the primary raison d’etre here at Cover Lay Down; to see artists and labels doing the same is a confirmation that, at least from the artist’s and industry’s perspective, our work is not wasted. But in this case, I’m also excited because I’m still in the process of discovering Witmer. And the more I hear of his increasingly understated mix of seventies folk sensibility and modern indiefolk production, the more smitten I become.

Denison Witmer has been around for a while: he’s released a steady string of albums in a decade or more, and seems to have become a staple of the rich Philadelphia folk scene in that time. But though he’s not so far, geographically speaking, from my own rural Massachusetts setting, musically speaking, Dension’s more recent sound leans more towards the delicately organic indiefolk approach of Nick Drake, Elliott Smith or Mary Lou Lord, even as it comes across as smoother in performance than any of those musical peers and predecessors. And the Philly folk scene has long been separated from the Boston and New England folk scenes by the vast dividing line that is NYC; it is rare for artists to make it in both scenes without hitting a certain level of fame, if not notoriety, on a national level.

As such, my experience with Denison comes from the very expansion of my own taste and experience in both the folkworld and the covers world which are part and parcel of my commitment to blogging over the last eleven months. On the folkfront, Denison’s name came up in my exploration of the work of Rosie Thomas, especially following the release of her blog-favorite album These Friends of Mine, which was heavily influenced by Thomas friends, co-producers and session musicians Sufjan Stevens and Denison Witmer. And, in the covers realm, I’ve recently discovered, and come to appreciate, Denison’s delicate, reverent takes on a well-selected subcatalog of other people’s songs.

As with his previous covers album, 2003 release Recovered, these newest covers are nothing especially transformative, but that’s not the point. As we heard in our previous Single Song Sunday feature on Jackson Browne/Nico song These Days, which included Dension’s version of the song amidst a huge pile of other covers, Denison’s approach to coversong strips songs down to their sonic core, not so much reinterpreting as owning and refocusing the songs in toto — from arrangement to lyrical structure — in the particular context of Denison’s languid voice, rich string style, and preferences for a slow, songwritery, richly atmospheric, and slightly folkpop production.

In the past, the result turned songs by The Band into highly recognizable versions of songs by The Band done with reverence, one voice, and just a slightly more focused production, songs by Big Star into folkrock songs with Big Star’s particular riff style and grunge approach. Here, it means quiet, stunning, reverent-yet-raw bedroom cover versions of Bonnie Raitt’s signature tune I Can’t Make You Love Me and The Red House Painters’ beautiful Have You Forgotten, and — released just today — a pensive campfire cover of Oasis hit Champagne Supernova, all of which both reflect and totally re-center familiar songs, allowing them to retain the tone of the original, while creating a pleasant new entry into each through consistently warm, slightly raspy tones. You get the best of both worlds, in other words: covers which show Denison’s commitment to songcraft and musicianship; songs which speak clearly as songs, recalled and refreshed with respect.

Thanks to My Old Kentucky Blog for raising the flag on these newest covers; keep an eye on Denison’s MySpace over the next few weeks as he releases other well-chosen obscurities and familiarities yet to be named. In the meanwhile, while we wait for the November arrival of what may well be the long-overdue breakthrough release from this underrated thirtysomething composer, session man, and solo artist, here’s those abovementioned covers, along with another great cover from Denison’s back catalog which honors his debt to protoypical indiefolk icon Nice Drake. As always, stick around afterwards for a few bonus tracks…

Remember, folks: we’re here, in part, because the folkprocess survives in the way artists and song each winnow towards and away from each other, giving us entry into the best of what is new and current through the old and familiar. But though Denison released a vast swath of his catalog free for eternal download a few years ago in honor of his thirtieth birthday, you can’t eat free. If these covers take you to listen to and subsequently buy the original works of Denison Witmer, and remind you to order Carry The Weight when it comes out in November, then the model works for all of us — the artists, the labels, the bloggers, the fans. And then, everybody wins.

A few more, perhaps, before you go? Though Denison’s influence, voice, and signature sound, like Sufjan’s, is all over Rosie Thomas’ These Friends, not many people realize that one of the best songs on that album is actually a cover of one of Denison’s earlier songs. Here’s that cover, plus the incredible original, since it seems to have gone relatively unheard in last year’s Rosie Thomas lovefest…plus another paired set from Denison and Thomas, pulled early from an upcoming feature on the songs of Fleetwood Mac.

Cover Lay Down publishes new covercontent Sundays, Wednesdays, and the occasional Friday or Holiday. Coming soon: new old timey musicians take on timeless songs, sweet songs of apples and honey to celebrate the Jewish New Year, and yet another installment in our popular Covered in Kidfolk series for cool moms and dads.

254 comments » | Big Star, Bonnie Raitt, Denison Witmer, Fleetwood Mac, Nice Drake, Oasis, Red House Painters, Rosie Thomas, The Band

Covered in Folk: Randy Newman (Bonnie Raitt, The Duhks, J.J. Cale, Shelby Lynne, and 9 more!)

April 30th, 2008 — 01:49 am

Though my father hasn’t missed it in decades, I haven’t been able to attend the New Orleans Jazz and Heritage Festival since I started teaching over a decade ago — something about the way a last gasp of hunker-down-and-teach takes over public education as we approach state testing, and the long downhill slide toward the end of the school year. But every year as we hit the last weekend in April my mind begins to muse upon the great acts I saw down there the few years I made it: Los Lobos, the Indigo Girls, Taj Mahal, Blues Traveler, the Neville Brothers, a holy host of Marsalis siblings, and many, many more.

What stands out strongest after all these years is the time I saw Randy Newman play a whole set of songs about rain in a downpour one year at Jazzfest. We were muddy football fields away from the stage, umbrella-less to boot, but what I remember best is the clarity of his set, just that wry warbly scratchy voice and a barroom piano style, over a substance chock full of extremely unreliable narrators and sarcasm, with a power that I had never really heard in his music before.

The scene was terrible; the view was worse. But Newman’s music got burned into my brain. And since then, though I haven’t made it to another performance, I’ve never passed up a chance to listen to his songs, no matter who is singing them.

Randy Newman’s original performances aren’t folk, quite — though as a set of produced music that, at its best, focuses and features the simple melodies and heartfelt, story-troped acoustic output of a songwriter and his stringed instrument, much of his songs share the qualities of both traditional folkways and modern singer-songwriter folk. That so many from the folkworld and beyond have managed to take his work and make it beautiful in their own way acknowledges this ground, it is true. But that the songs speak — as all good folk should — to a nation and a people and a heart all at once is both a testament to the inherent beauty in the songs themselves, and the inherent and universal beauty in the human condition, even at its most terrible and sodden and rained-upon, of which they speak so effectively.

Today, in honor of my tenth consecutive year missing Jazzfest, we bring you a predominantly southern-tinged set of Randy Newman coversongs. Though I could not resist a song or two from the lighter and less historically-relevant side of the Newman catalog, those younger folks who only know Newman from his recent work scoring Disney soundtracks may be pleasantly surprised to find that in his younger days, Newman was a gifted songwriter, known for his ability to expose the whole range of the human experience, from the poignant to the historical accurate to the absurd, rub it raw, and somehow manage to make it touching all the same. Sometimes, I guess, it takes a little rain to make you really understand.

Today’s bonus coversongs come with little fanfare after two megaposts in three days:

  • Randy Newman covers Harry Nilsson’s Remember
  • Randy Newman “covers” Every Man A King, bringing his trademark irony to lyrics originally by Huey P. Long just by singing them straight alongside his Good Old Boys

Randy Newman will play this year’s Jazzfest on Thursday evening. Can’t make it? Check out this related post @ Star Maker Machine: The Preservation Hall Jazz Band covers Do You Know What It Means To Miss New Orleans

885 comments » | Bonnie Raitt, Chris Smither, Covered in Folk, JJ Cale, Mae Robertson, Marc Broussard, Martin Simpson, Peter Mulvey, Randy Newman, Shelby Lynne, The Duhks, Tim O'Brien

James Taylor Covers: Sam Cooke, George Jones, Joni Mitchell, Stephen Foster, Peter Pan, The Drifters, and more!

April 27th, 2008 — 08:57 pm


A bit woozy today after yesterday’s all-day drive up the East Coast from North Carolina. My head still swims with the sights of barbecue joints and crabcake stands, and roadside shacks where one can get smoked ham and sausages, local peanuts, and fireworks to celebrate it all.

But it’s good to be home, where the daffodils are in full blown bloom, even if the lawn still struggles against the moss and hemlock. The American South is a wonderful place to visit; I like seeing the world, and though I’ve been to more countries than states, the diversity of the US pleases me. But this place feels right, somehow. With a few tiny stints out of bounds, I’ve been a Massachusetts-based New Englander all my life, and I expect to be one for the remainder of it.

James Taylor likes it here, too. And I’ve been promising myself a feature post on good old JT for ages. What better way to celebrate our triumphant return than with an eighteen song megapost on the coversongs of and from this incredible singer-songwriter? Ladies and gentlemen: the coverwork of James Taylor, Massachusetts resident.


Born in Boston, James Taylor spent his adolescence in Chapel Hill, North Carolina, where his father was Dean of the UNC School of Medicine. But the family retained strong ties to Massachusetts, summering in Martha’s Vineyard; James attended boarding school at Milton Academy, and when he struggled with depression in his early adulthood, he headed for McLean’s Hospital, a stately suburban instititution just outside of Boston where I remember visiting one of my own friends in the last year of high school.

Though he has since lived in California and London, and though his signature voice retains the barest hint of southern twang under that clear-as-a-bell blueblood bostonian accent, like me, Taylor has always returned to the Massachusetts he loves. Today, he lives about thirty miles west of here, in the Berkshires, just on the other side of the Adirondack ridge. And he retains strong ties to his beloved Martha’s Vineyard, performing there each summer, sometimes with Ben and Sally, his children by ex-wife Carly Simon, who is also a Vineyard resident.

Beyond our shared love of the beaches and woods of Massachusetts, there’s something immutably local and authentic about my experience with James Taylor. My childhood understanding of and familiarity with folk music as a genre and a recorded phenomenon was primarily driven by a strong record collection at home, but my experience of acoustic music as folk — as something singable and sharable and communal — was peppered with young camp counselors who had learned their guitar licks from the radioplay of the day. For me, Fire and Rain will always be a song for campfire singalongs, one which helps me come to terms with the bittersweet and constant state of being both in good company and away from home.

Too, James Taylor was my first concert, and you never forget your first. I remember lying on the summer grass at Great Woods (now the Tweeter Center), looking up at the stars and letting the wave of Fire and Rain wash over me. I remember peering at the stage and recognizing the way James smiled at us, at bass player Leland Sklar, at the song itself as a kind of genuine communion, one which flavored the performance with something valid and universal.

Because of that night, and the organic songs-first-performance-afterwards way I came to it, James Taylor, for me, is the standard by which I measure the authenticity of folk performance. That so many shows have not met that standard since then is a tribute to both Taylor’s gentle nature, and his way with song and performance.

James Taylor’s voice is unmistakable, almost too sweet for some, and he doesn’t fit my every mood. His loose, white-man’s-blues guitar playing is better than most people give him credit for, but it is often downplayed in his produced work. But in the back of my mind his songs are a particular form of homecoming, one intimately tied to summer song and simple times outside of the world as we usually live it. And when I sing Sweet Baby James or You Can Close Your Eyes to my children at night, there’s a part of me that’s back on that summer lawn, letting the music reach a part of me that cannot speak for itself.


We’ll have a few choice covers of Taylor’s most popular in the bonus section of today’s megapost. But first, here’s a few of the many songs which Taylor has remade in his own gentle way over the years: doo-wop standards, sweet nighttime paeans and lullabies, hopeful protest songs, and others.

Though James Taylor does have his pop side, this isn’t it. You’ve heard ‘em before, so I’ve skipped the original versions of the covers which Taylor has made his own through radioplay over the years — including Carole King’s Up On The Roof and Marvin Gaye’s How Sweet It Is (To Be Loved By You) — though I did keep a live version of Handy Man in the mix, and thought it worth trying the new version of You’ve Got A Friend from Taylor’s newest release, the stripped-down One Man Band. (I’ve also skipped his lite pianojazz ballad version of How I Know You, from the Aida soundtrack: it’s not folk, and it’s not my thing.)

Instead, by presenting a selection of Taylor’s rarer and lesser-known coversong all at once, it is my hope that the diversity of the source material here allows even the most jaded of us to come to what is too-often dismissed as Adult Contemporary pablum with new ears, attuned to more subtle differences of tone and undertone — to explore and even collapse the distance between bittersweet and tender, longing and acceptance, home and homesickness, which continues to make James Taylor worth listening to, and celebrating.

James Taylor’s works are mainstream, and distributed as such; his website sends us to amazon.com for purchase. As here at Cover Lay Down we prefer to avoid supporting the corporate middleman in favor of direct artist and label benefit, we recommend that those looking to pursue the songwriting and sound of James Taylor head out to their local record shop for purchase.

Not sure where to begin? Anything released between 1968 and 1974 provides the best introduction to JT’s core sound; I promise it’s folkier than you remember. Jaded folkies who stopped listening a while back might take a second look at Taylor’s 1977 release JT, or albums from the late eighties and nineties such as Never Die Young, New Moon Shine or Hourglass. I’ve heard great things about the recent DVD release One Man Band, Taylor’s return to a sparser acoustic sound. And coverlovers shouldn’t lose sight of James Taylor, either — rumor has it that he has already recorded tracks for an album of soul covers to be released later this year.

I had been saving the bulk of my collection of covers of James Taylor originals for a future Folk Family Feature on the Taylor family: James, Livingston, son Ben, and Ben’s mother Carly Simon. But I’ve been leaking them slowly and surely as time goes on, and the floodgates are open today. So here’s the backlinks, and a few bonus coversongs to tide you over:


James Taylor covers previously on Cover Lay Down:

  • Sheryl Crow covers You Can Close Your Eyes
  • Mud Acres covers Carolina in My Mind
  • Cindy Kallet covers New Hymn

    Related posts:

  • Ben Taylor covers The Zombies’ Time of the Season
  • Livingston Taylor covers Stevie Wonder’s Isn’t She Lovely
  • Carly Simon covers the theme to Winnie The Pooh

    PS: I’m also looking for a rumored 2004 recording of James Taylor and Alison Krauss covering the Louvin Brothers’ How’s the World Treating You. Found! Thanks, Carol!

  • 711 comments » | Bonnie Raitt, Carly Simon, Cassandra Wilson, Da Vinci's Notebook, James Taylor, Mae Robertson, Seldom Scene

    Covered In Folk: Birthday Boys T-Bone Burnett, Dave Grohl, LL Cool J, Allen Toussaint

    January 13th, 2008 — 03:59 am


    It is my honor to share a birthday with a seminal hip hop balladeer, a grunge god, the hands-down master of New Orleans R&B songwriting, and the best soundtrack and pop-americana producer in the business. Since it was too hard to pick just one, instead of focusing on a single artist or genre today, I’m featuring some of my absolutely favorite covers of the work of LL Cool J, Dave Grohl, Allen Toussaint, and T-Bone Burnett, all of whom were born on January 14.

    If I didn’t have an outlet for celebrating these four incredible musicians, I’d probably spend the day moping around the house, feeling old. Instead, I get to spend a few hours researching, listening to, and celebrating the songs of their younger days, and mine. Not bad for the last day of my 34th year. Though to be fair, it also helps to realize that I’m younger than all of them.

    Today’s piece de resistance is Robert Plant and Alison Krauss’ incredible cover of Fortune Teller from Raising Sand, their recent all-cover release, which owes its existence to not one but two of these four deities of the musical realm. But the rest of this fine set is worthy of your consideration, too. The envelope, please…

    Though Allen Toussaint (b. 1938) has always been recognized as a performer and songwriter in hs own right, most of the songs he’s written found fame in either his own hands or the hands of other R&B and rock artists. But his works are so prevalent, they show up in the folk world, too, especially where folk and blues-tinged rock meet. Bonnie Raitt‘s funky cover of Toussaint’s 1970 hit What Is Success pays tribute to both the R and the B. Meanwhile, Fortune Teller, penned pseudonymically by Toussaint’s alter ego Naomi Neville, and recorded by bands from the Rolling Stones to the Who, is just incredible in the hands of Plant, Krauss, and our next birthday boy.

    T-Bone Burnett (b. 1948) spends most of his time behind the scenes in the music world. But even if you’ve never heard his work as a roots rock Country singer-songwriter, you know his work as a Grammy-winning producer and song-writer for a bevy of musicians you really do admire (Roy Orbison, Elvis Costello, Gillian Welch, Spinal Tap, his wife Sam Phillips) and for a rash of award-winning soundtracks (Cold Mountain, O Brother Where Art Thou, Walk The Line). Burnett plays guitar on the above-mentioned Fortune Teller, and produced the album, too; here’s four more amazing covers of songs he either arranged or co-wrote.

    Hip hop artist and actor LL Cool J was born in 1968, and he dropped his first album of major label tracks at 17 years old, which makes the entire hip-hop genre older than you thought. Here’s a pair of playful indiepop folk covers of 1987 Def Jam release I Need Love, the first “romantic hip-hop ballad” to hit the top of the pop charts, just to prove it can be done, and done well; irish folk-rock singer-songwriter Luka Bloom and indie folktronic group Sexton Blake do excellent coverwork here and elsewhere, and come highly recommended.

    Before he formed the Foo Fighters, Dave Grohl (b. 1969) was Nirvana’s last and most famous drummer. The folk scene is long overdue for some good Foo Fighters covers; while we wait, check out Laura Love‘s sparse bass and vocal, Patti Smith‘s soft banjo-tinged americana, and Kathryn Williams tense string quartet jazz folk — some of the best from an infinite series of covers of Nirvana songs penned and recorded during Grohl’s tenure.

    All artist and album links above go direct to label and musician homepages, so you can best support artists directly, and avoid supporting the faceless megacorporations which commodify those artists. Please, folks: buy what you hear if you like what you hear, and help me realize my birthday wish for a future bright enough to contain the infinite possibility of homegrown music, in a world in which artists can sustain themselves without having to keep their day jobs.

    Just can’t get enough? Cover Lay Down publishes every Sunday and Wednesday, and some Fridays and Holidays. Our archives are open late, but they don’t stay up forever, so don’t forget to hit up older posts before the songs go back to the ages from whence they came.

    1,066 comments » | Alison Krauss, Allen Toussaint, Bonnie Raitt, Covered in Folk, Dave Grohl, k.d. lang, Kathryn Williams, Laura Love, LL Cool J, Luka Bloom, Patti Smith, Sexton Blake, T-Bone Burnett

    (Re)Covered: More folk covers of Britney, Lou Reed, Chris Smither, Amazing Grace

    November 9th, 2007 — 10:15 am

    In order to maintain quality over quantity, this is our last regular Friday post here at Cover Lay Down; from now on, you’ll still get ten or more carefully vetted songs a week, but with a few notable exceptions (holidays, the occasional Folk Family Friday), posts will appear on Sundays and Wednesdays.

    Today, for a “final” Friday post, we recover a few songs that dropped through the cracks just a little too late to make it into the posts where they belonged. Ladies and Gentlemen: our last regular Friday, our first (Re)Covered.

    My Halloween post on Britney Spears folk-covers seems to have started a trend: if you haven’t already, head on over to Cover Freak and new blog Cover Me for a whole mess o’ popcovers from across the musical spectrum. Especially recommended for folkfans: Shawn Colvin‘s cover of Gnarls Barkley summersong Crazy, Matt Weddle’s reinterpretation of Outcast hit Hey Ya, the term “Pop Tart” to describe a certain type of female pop singer. Not recommended: Nickel Creek’s cover of Toxic, which I download and delete every few months — it was probably hilariously wonderful in concert, but the recording suffers from some abysmal recording quality.

    But the popcover flood isn’t over yet: in addition to sparking a coverblog meme, my own post brought several direct submissions out of the ether. You’ll see a few of these in future posts; in the meantime, here’s a few of the best Britney Spears covers I received in the past few days:

    • Irish folkrocker Glen Hansard of the Frames covers Britney’s Everytime (Thanks, Rose!)
    • Another chilling version of Toxic from Dutch folkgoddess Stevie Ann, this one in-studio and sans sax (Thanks, the_red_shoes!)
    • More from Guuzbourg:
      • a light sweet version of Toxic from the Chapin Sisters
      • a Klezmer-esque Toxic from Global Kryner.

    In other news, I also found a great “bonus” for last week’s Lou Reed folk coverpost while flipping through some old entries in retropsychadeliablog Garden of Delights. June Tabor and The Oyster Band’s 1990 version of Velvet Underground classic All Tomorrow’s Parties has strong ties to the traditional Irish/British countrysongs at the core of folk rock as first defined by Pentangle, Donovan, and Steeleye Span in the 1970s.

    • June Tabor and The Oyster Band, All Tomorrow’s Parties

    After weeks of scouring local public libraries, I finally found Bonnie Raitt’s absolutely marvelous cover of Chris Smither‘s I Feel The Same and the produced version of his Love Me Like A Man on her 1990 retrospective The Bonnie Raitt Collection. I’ve loved this pair of covers ever since I was a kid; listening to them again brings me right back to the hardwood floor in front of my father’s stereo, carefully sliding records out of their sleeves. I posted a live version of the latter last week, but the produced versions are better.

    • Bonnie Raitt, I Feel The Same
    • Bonnie Raitt, Love Me Like A Man

    Had I began researching this week’s post on folksong lullabies earlier, I would have discovered classicalfolk guitarist and composer John T. La Barbera‘s version of Who’s Goin’ To Shoe Your Pretty Little Foot in time to include it in my post on Amazing Grace and the folk/gospel tradition. They’re not the same song, but the music is almost identical; for the first half a minute, La Barbera’s soft, gorgeously lush instrumental could be either.

    • John La Barbera, Who’s Goin’ To Shoe Your Pretty Little Foot (trad.)

    Finally, thanks to all who send, tout, and post music — keep those afterpost suggestions coming in, folks! And don’t forget to come back on Sunday for a very special ten-song feature on the folkier side of Beck!


    798 comments » | (Re)Covered, Amazing Grace, Bonnie Raitt, Britney Spears, Chapin Systers, Chris Smither, Glen Hansard, Global Kryner, John La Barbera, June Tabor, Lou Reed, Oysterband, Stevie Ann

    Chris Smither Covers: John Hiatt, The Grateful Dead, Little Feat, Chuck Berry, and Dylan

    October 28th, 2007 — 10:32 am

    I seriously considered Chris Smither for our Covered in Folk series. After all, for much of his forty-year career Smither was a total unknown outside a very small community…unless you happened to know who wrote Bonnie Raitt’s hit Love Me Like A Man. Smither has cred as a performer in his own right; he deserves to be touted for his own deceptively simple musicianship, not just his writing. The problem is, while his songs have been pretty consistently out in the open since he started out, his career path yaws like a ship in a storm.

    Smither joined the Cambridge, MA folk scene in the late sixties, and hit the national radar in the early seventies with a spate of albums that showcased his emerging songwriting and raw, bluesy swamp folk style. But he faded into relative obscurity by the end of the decade, touring sporadically, releasing only one album in the eighties while his songs lived on in the hands of others. For a while, it looked like another promising musician had gotten lost.

    But when Smither came back in 1991 with intimately recorded live album Another Way To Find You, it put him right back in the groove, winning awards and filling bars across the country. Since then, he’s been prolific and celebrated; today, where the Dixie Chicks still sell more Patty Griffin than Patty Griffin, Chris Smither has transcended life as “the guy who wrote that song” to become a headliner again, reemerging from the dark eighties to impress a new generation with his foot-stomping blues/folk guitar style, his throat-scratching Florida by way of New Orleans tenor drawl, and his interpretation of both his own well-crafted tunes and familiar standards from the folk canon.

    At his best, Smither’s signature sound is a holdover from the days of Leadbelly, before blues and folk music split into distinct genres. Like those that came before him, he can play fast and loose with tempo, speeding through phrases on the guitar in raw emotive power. What distinguishes his style from the great grandaddies of interpretive fingerplucking is a preference for fastfinger slide over chord-playing, and a mellow, weathered grin all his own that shines through his lyrical play to flavor even the most wistful of folksongs.

    The edgy, bluesy style Smither favors in performance is best featured on Another Way to Find You, in all its live, foot-stomping glory; his produced work shows an equally gifted ability to play the power of that wailing voice and sweet guitarplay off a full wash of sound. Here’s a full house of covers from his second wave of fame — a trio of solid tracks from Another Way, and a pair of more recent, more produced cuts — just to prove that you can rise again:

    • Friend of the Devil (orig. Grateful Dead)
    • Down in the Flood (orig. Bob Dylan)
    • Tulane (orig. Chuck Berry)
    • Rock and Roll Doctor (orig. Little Feat)
    • Real Fine Love (orig. John Hiatt)

    Chris Smither sells all his in-print works, from 1984′s amazing It Ain’t Easy to last year’s solid Leave The Light On, through his website, so you know where he’d prefer you buy them. Unfortunately, if you’d like to go back to his work from before the resurrection, you’ll have to scour the used recordshops — but they’re well worth the vintage price, if you find one in good condition.

    Today’s bonus coversongs are a full house, too:

    • Smoothjazz chanteuse Diana Krall covers Smither’s Love Me Like A Man
    • Bonnie Raitt covers Love Me Like A Man, too (live, from Road Tested)
    • Chris Smither’s original 1970 version of Love You Like A Man
      (our first NON-cover here on Cover Lay Down!)
    • Smither makes Roly Sally’s Killin’ the Blues his own
    • Shawn Colvin covers Smither’s version of Killing the Blues

    1,106 comments » | Bob Dylan, Bonnie Raitt, Chris Smither, Chuck Berry, Diana Krall, Grateful Dead, John Hiatt, Little Feat, originals, Shawn Colvin