Category: Pete Seeger


Covered in Folk: Pete Seeger (On Folk as an Engine of Social Change)

September 24th, 2008 — 08:37 pm

Though I believe that folk, most especially in the way it functions as a channel of engagement and public discourse, is by definition an agency of cultural change, I have been reluctant to use this blog as a forum for advocating explicit change of any one type. Perpetuating the relevance of folk as an agenda in and of itself, it seems to me, precludes taking sides for any particular agenda which might be carried by folk, lest we alienate opposing values, and in doing so, diminish the potential of folk to remain dialogic.

But it’s pledge drive time at our local radio station, and the Nobel Prize selection committee does seem to have a set criteria for signatories and public outcry as an establishing principle for prize consideration. And it’s hard to imagine anyone genuinely untouched by the compassionate, tireless work in the name of human dignity, empowerment, and awareness which Pete Seeger continues to consider his life’s work after over sixty years as a recording artist and activist.

So when my mother, who once used Seeger’s songs as a vehicle for planting the seeds of peace and justice in both myself and in the inner city classrooms of New York City, became the most recent in a long series of folks to remind me of the recent petition to recognize Pete’s long-standing contribution to social, environmental, and political change, it seemed like the right time to use the soapbox to do some particular good.

Though there are parallels to be made between the community ownership of song upon which this blog is predicated, and the ways in which Pete Seeger‘s work has bridged time and space to touch and affect the rest of us, one one level, honoring this particular life’s work is made more challenging by our focus on coversong. For, though there are certainly tunes that one can point to as written by Seeger during his long career, the question of coverage and song origin is complex and unclear in much of Seeger’s catalog.

Which is to say: the son of an ethnomusicologist and a true believer in folk as a mechanism for tying past to future, perhaps more than any artist in history, Seeger has lived folk song as if it truly did belong to the community for which it speaks. As such, Seeger’s contribution to folk was one of popularization as much as songcraft; many of the songs he is best known for have their origin in the past, and much of his better-known works, like Turn, Turn, Turn, use older components to create new works. Even Seeger’s own greatest hits album combines songs written by Pete Seeger with songs popularized by Seeger. And even the better tribute albums out there mix songs which Seeger actually wrote with songs which he made his own.

None of this precludes consideration from the Nobel folks, of course; indeed, it is Seeger’s deep sense of the social and folk environment as both purposeful and shared by all of us which is perhaps the most powerful case for his recognition. As such, first and foremost, the aim of today’s post is to ask all of you to take a moment and — in the name of folk itself — sign your name to the petition asking the Nobel Prize Committee to consider Pete Seeger for this year’s Nobel Peace Prize in recognition of his tireless work sowing the seeds of peace.

But of course, you also come here for the music. And there are some great tributes out there, most notably the three sets which the activist-founded, socially conscious folklabel Appleseed Recordings has released in a scant decade of existence; I’m especially enamored of double-disk first release Where Have All The Flowers Gone: The Songs Of Pete Seeger, which in addition to the Ani DiFranco and Bruce Cockburn covers below includes a veritable who’s who of big-name inheritors of the activist folkmantle, from Richie Havens and Odetta to Springsteen and Billy Bragg.

Someday, I aspire to the time and energy it would take to approach a proper post on the central influence Pete Seeger and his family — from father Charles (the ethnomusicologist) to half-siblings Peggy and Mike to half-nephew Neill MacColl and grandson Tao Rodriguez of the Mammals — have had in defining and continuing to define folk music as a social and political engine of change for almost a century. In the meanwhile, here’s a set of personal favorites with a much simpler organizing principle: songs which other folk artists of a certain political bent have learned from or associate with Pete Seeger himself, regardless of authorship, and have recorded in deliberate tribute to this long-standing folk icon.

*removed at artist/label request.

Folk and social consciousness go hand in hand; to support one is to support the other. If you have ever been moved by folksong, sign the petition — technically, a petition “to persuade [the] American Friends Service Committee to enter Pete Seeger as their nominee for the Nobel Peace Prize 2008 ” — and in doing so help make the case for both Seeger and the folk process itself as an agency of peace. Then, head on over to Appleseed Recordings for the opportunity to purchase Seeger’s work, the aforementioned cover albums, and a whole host of other folksongs from a growing stable of socially aware artists actively engaged in using folk music to change the world for the better.

Want more? Today’s bonus coversongs offer a tiny, tiny taste of Seeger as political song interpreter, just in case you’re still young enough to have never really encountered his own continued celebration of his folkpeers and ancestors:

Cover Lay Down publishes new materials Sundays, Wednesdays, and the occasional otherday. Join us this weekend as we celebrate one year of coverfolk blogging.

1,112 comments » | ani difranco, Bruce Cockburn, Eric Bibb, Holly Near, Joan Baez, Kate and Anna McGarrigle, Marlene Dietrich, Natalie Merchant, Pete Seeger, richard shindell, The Mammals, Tony Trischka

Covered in Kidfolk, Vol. 5: Barnyard Tunes and Critter Songs for Cool Moms and Dads

June 11th, 2008 — 09:01 am

I grew up in the suburbs, where wildlife was scarce, though we had our share of squirrels and birds, and the occasional rabbit sighting in the backyard. When we wanted to see larger animals, we generally headed out to Drumlin Farm, a working farm run by the Audubon Society, where caged birds of prey lined the path to the chick hatchery, the pigs and sheep gave birth every spring, and you could always spot the queen in the glass-lined, thin-sliced beehive, if you looked long enough. There was a pond, too, for crawdad spotting. Well worth the membership, and the half hour drive.

These days, we live in the country, where turkeys congregate around corners year round, and the neighborhood dogs roam aimlessly throughout our lives. Round these rural parts, Spring brings a whole mess of animals into the yard, from the new baby robins that nest in our holly bush to the frogs, toads, and salamanders that scatter when the kids run through the tall grass and hollows. On weekends, it’s a five minute jaunt through the woods to the dam and its shady, overgrown waterways, where turtles, ducks, and beavers play in the water, and the fish practically jump on the hooks the moment we throw our lines in.

On hot days, we head up the hill to Westview Farm, where the new baby goats skitter up and down the concrete barriers, butting heads and bleating; in the evenings, the mother cow in the grazing field across from our driveway lows to her new calf. This year, the neighborhood has even been graced by a family of foxes; we haven’t seen the mother and her kits yet, but the father runs past our windows and down into the growing darkness just about every day towards suppertime.


The world of kidsong is chock full of songs about animals, and for obvious reasons. A healthy child’s life is full of nature, and nature is full of life. Too, the developing awareness of what it means to be alive, and be part of a world full of other things that are alive, is an important part of child development; songs which portray the various relationships we have with animals — both wild and domesticated — help prepare us to think deliberately about our world, and our place in it, as we grow up to become parents of our own.

Today, in service to this aspect of development, we present a sprawling collection of animal coversongs from my growing kidfolk cache. Most predate the phenomenon of song authorship. And with artists such as Tim O’Brien, Nickel Creek, Garcia/Grisman, and Seldom Scene lead singer Phil Rosenthal on the list, the set skews towards the bluegrass, but I make no apologies for this; it is only very recently, with the advent of the NYC indie bluegrass scene, that bluegrass has begun to leave behind it’s associations with rural community and farmlife, and this makes it good solid folk music in my book.

But regardless of origin, as with all previous entries in our Covered in Kidfolk series, the point here is to provide a respite from the cheesy, cloying pap that passes for mainstream children’s music, that we might — as cool moms and dads — stay true to ourselves while providing our children with music that befits their age, and their emotional and developmental needs. I think this particular set hits the mark admirably. Whether these songs speak of the swamp or the barnyard, the woods or the stream, each is wonderful, in both the usual sense and in the older sense of the word: full of the wonder which we should nurture in every child, and in ourselves.

As always, folks, links above go to label- and artist-preferred sources for purchase, not some faceless and inorganic megastore. If you like what you hear, buy, and buy local, to help preserve the little spaces, for the little people you love.

295 comments » | Buckwheat Zydeco, David Grisman, Elizabeth Mitchell, Jerry Garcia, John McCutcheon, Kidfolk, Laurie Berkner, Nickel Creek, Pete Seeger, Roger McGuinn, Taj Mahal, Tim O'Brien, Townes van Zandt

(Re)Covered V: More Covers of and from Richard Shindell, Cindy Kallet, Doc Watson, James Taylor

May 4th, 2008 — 06:38 pm

News, new releases, and new discoveries leave us no choice but to bring you yet another long-overdue installment of our popular (Re)Covered series, wherein we recover songs that dropped through the cracks too late to make it into the posts where they belonged.

A huge news trifecta this week from Cover Lay Down inaugural-post favorite Richard Shindell: he’s started a blog, he’s decided to reopen sales of his recent live album as a digital download, and he’s decided to try financing his next record by offering every single one of us the chance to become a producer.

Shindell’s blog is already proving to be a vibrant space for thoughtful, well-written treatises on the world and how it is changing, though we’d expect nothing less from this articulate singer-songwriter’s singer-songwriter; the first two entries offer a short journalistic report from his adopted homeland of Argentina, and an artist’s-eye reflection on how changes in the music industry have altered the relationship between musicians and fans, primarily for the better. And the news that others will soon be able to order his well-produced and wonderfully organic live album, which I wrote about in our six-month anniversary post, is just plain great.

But I’m especially excited to see Shindell join the growing ranks of folk artists who are not only embracing the new, digital world, but tapping into its fullest potential. Album microfinancing through the fanbase is a gutsy move, but it is a viable one, as singer-songwriters Kris Delmhorst and Jill Sobule have successfully demonstrated; the multi-tiered approach Shindell is using to finance his new work seems creative, and offers real return for investors: at the entry level, you’re basically buying the album in advance; from there, investment return climbs all the way up to house concerts and housepainting.

As Richard points out in his most recent blog entry, working with “big music” and the RIAA has its costs, and often require that artists work in ways which are not consistent with their own value systems. But the file-sharing landscape offers new opportunities which greatly improve the potential for the relationship between artists and fans. Fan financing is just one example of this; a second is Shindell’s creation of an open guitar case, where those who have downloaded his work for free, or just appreciate it, can choose to stop by and support Shindell directly. Here’s hoping that this is only the tip of a very big iceberg.

Please join me in supporting the creation of Richard’s new album, and celebrating yet one more musician who has decided to leave behind the crumbling, artist-unfriendly industry. Even if you aren’t interested in purchasing a full album, or participating in microfinancing at this time, if you like the songs I’ve included here, or enjoyed previously-posted covers from Richard Shindell, including songs by Springsteen and Ritter, Leonard Cohen, and Jeffrey Foucault and Dar Williams, please consider donating to Shindell via his open guitar case.

In other (Re)Covered-worthy news, I just recieved my review copy of Heart Walk, the new album from the trio of Cindy Kallet, Ellen Epstein, and Michael Cicone. As expected, it’s a beautful work, full of robust harmony and sincere emotion, primarily comprised of coversongs of underappreciated folk artists who share the same social and ecological sensibilities of Kallet and co. Like the trio’s previous two albums, which I wrote about in our previous feature on Cindy Kallet, Heart Walk is both an especially powerful musical experience, and a great and loving introduction to the work of other folk musicians you may not have heard of, but should. Kudos, all around.

Order Heart Walk and hear samples here; if you live in the Boston area, come join me at First Parish Church in Watertown on May 17th for the Kallet, Epstein, and Cicone CD release party, a rare opportunity to see the trio (and friends) perform live. In the meantime, these two covertracks from the new album — a cover of an old Judy Collins tune, and an absolutely stunning cover of Peter Mayer’s Holy Now featuring Michael’s warm, clear lead vocals — are a great way to whet the appetite.

  • Kallet, Epstein, Cicone, Holy Now (orig. Peter Mayer)
  • Kallet, Epstein, Cicone, Since You Asked (orig. Judy Collins)

Our recent vacation to North Carolina was lots of fun, but being without the bulk of my music collection meant a relative dearth of music availability for the posts I produced while on the road. Happily, since my return, my continued search for songs from fathers to daughters and more old folk song covers from Doc Watson led me to Daddies Sing Good Night, a decade-old compilation from bluegrass label Sugar Hill records. This great coveralbum, which turned up in my daughter’s vanity, was the source for the Seldom Scene cover of Sweet Baby James I included in our recent James Taylor coversongs megapost; it also includes these two great father-to-son cuts from Doc Watson.

And finally, speaking of ol’ JT: thanks to all my readers, especially long-time reader and fan Carol, for the many songs and suggestions that poured in after the aforementioned James Taylor megapost. Though I’m saving most of my newly-embiggened collection of Taylor covers ever-hopefully for a future post on other members of the mightily talented Taylor Family, here’s that Alison Krauss and James Taylor cover of the Louvin Brothers I’d been looking for — it’s even better than I hoped it would be.

801 comments » | (Re)Covered, Alison Krauss, Cindy Kallet, Doc Watson, James Taylor, Judy Collins, Louvin Brothers, Merle Haggard, Pete Seeger, Peter Gabriel, Peter Mayer, richard shindell, Townes van Zandt

Covered in Folk: Donovan (Richard Thompson, Rickie Lee Jones, Lindsay Buckingham, etc.)

February 22nd, 2008 — 12:39 pm

It’s been suggested that this will be the year of the British band at blogfave musicfest SXSW. Ironically, however, last year’s SXSW featured a pair of sets by a seminal member of the original British Invasion, and hardly anyone seemed to notice, or remember. So while others prep for the indiefest, I thought it was high time to take a look back at a man who is so underrated in the US that none of the current generation of folk-rockers seem to bother listening to him, despite obvious musical similarities between today’s indiepop and his better-known tunes. Ladies and gentlemen, the songs of Donovan.


When sixties folk-rocker Donovan appeared at the 1981 Amnesty International benefit The Secret Policeman’s Other Ball alongside Sting, Bob Geldoff, John Cleese, and other famous musicians and comedians known for their commitment to the cause, his contemporaries Jeff Beck and Eric Clapton were immediately recognized and applauded by the audience. But although Donovan’s songs were given their due, he himself was not so well recognized. Instead, as he took the stage, one audience member bellowed “I thought you were dead!” Donovan’s response? “Not yet!”

Wikipedia goes on to suggest that the warm reception which followed this exchange “proves” that one-time flower child Donovan was still popular, despite the “anti-sixties” sentiment that existed at the time. More than anything, what the initial exchange says to me is that even as early as 1981, some folks had no idea that Donovan was anything more than a long-gone fragment of the past.

There’s a lot more to Donovan Leitch than Mellow Yellow. He’s an uncredited cowriter of the Beatles song Yellow Submarine. Friend of Dylan; father of actress Ione Skye, best known as Lloyd Dobler’s girlfriend in Say Anything. A man who remains committed to Transcendental Meditation, long after most folks packed it away with their macramé and love beads; who is, in fact, starting a TM university devoted to world peace and something called “the universal field” with the support of filmmaker David Lynch.

Okay, that last bit is a bit much. But the main point stands: though most folks remember Donovan for his celebration of hippie drug culture through his lifestyle and his lyrics, once upon a time, Donovan was a singer-songwriter who stood for peace, and was celebrated for his anti-war songs. He gets credit, even today, from others of his generation, who still play his songs in concert, and put them on their late-in-life releases. And in my opinion, he deserves it.

But unlike many of our other Covered In Folk feature artists, despite a minor renaissance in the coversongs of grungerockers Hole and the Butthole Surfers, and a mediocre 1992 grunge/indieband tribute album Islands of Circles, Donovan’s abilities as a songsmith seem to have been forgotten by today’s up-and-coming artists, especially the American folk community.

How the mighty have fallen. Today, Donovan still records, and tours Europe and his native London. He has true indiefolk cred, with a myspace and no major label support. He remains a musician constantly trying to recapture the magic. But while so many of his fellow sixties icons successfully reinvent themselves for modern audiences, in America, with the exception of a small but significant fan base, most folks still think Donovan is dead.

A challenge, then, to the new generation of American singer-songwriters. If – as today’s covers demonstrate – Donovan’s songs resonate so well on shows like Crossing Jordan and Party of Five, then there’s clearly still an audience for these lyrics and tunes. And certainly, now more than ever, the world needs songs of peace. Why not try one on, to see how it feels? Here’s some of Donovan’s peers to show you how it’s done, with bonus covers by Donovan both then and now to remind you of his talent.

Today’s bonus coversongs feature Donovan’s 1965 anti-Vietnam anthem The War Drags On, which many have heard but few realize is a cover of fellow sixties folkster Mick Softley. Those who think of Donovan as hippierock will be surprised; this is true acoustic singer-songwriter folk, worth trying if you’ve never really listened. Plus a few more recent interpretations recorded in the last decade, just to prove Donovan’s still got the chops: a cut from the two-disk Pete Seeger tribute Where Have All The Flowers Gone, a nice version of traditional folksong The Cuckoo from Beat Café, Donovan’s underrated 2004 return to beatnik jazzfolk, and a “cover” of a Dylan Thomas poem from that same album.

1,023 comments » | Donovan, Joan Baez, Lindsey Buckingham, Pete Seeger, Richard Thompson, Rickie Lee Jones, The Bobs

Single Song Sunday: House Carpenter (Natalie Merchant, Nickel Creek, Roger McGuinn, Tim O’Brien)

January 6th, 2008 — 07:51 pm


It’s been some week here at Cover Lay Down. Features on popular singer-songwriters Billy Bragg and Paul Simon brought us to the top of the charts at musicblog aggregator The Hype Machine and a linkback from New York magazine’s Vulture blog. On Friday, almost 900 of you visited the site, a new record; download tracking shows that many of you came in for one song, but stuck around to try something new. Welcome, kudos, and thanks for validating our goals here at Cover Lay Down.

But a slow day at home and a new branch of our local library system got me thinking about our roots, both as a folk blog and as community members. Popular artists and indieacts may have got you here, but there’s more to folk music than the indiefolk and Grammy winners of the last decades. Above all, it is our goal at Cover Lay Down to broaden your horizons, even while we serve your existing biases and favorites.

Today, we return to our roots for the fourth in our very popular Single Song Sunday series with a feature on Child Ballad #243 in the canonical collection of British folk ballads, a song more commonly known as House Carpenter.


Habitat for HumanityThey’re building one of those Habitat for Humanity houses in our town, just along the main road, out past the edge of what counts for downtown in these rural one-bar parts. A few weeks ago our local church helped make lunch for the crew — chili and cornbread, the kind of early winter comfort food that can be soaked up quickly, and keeps the fires going for hours. I wasn’t there, but the story goes that they had plenty of leftovers, primarily due to the fact that the workforce that day was a group of local college girls, doing their community service. The girls ate all the clementines, though. I guess we made the food with heartier carpenters in mind.

The 18th Century folk ballad House Carpenter, officially titled either James Harris or Demon Lover, isn’t about hope, or new beginnings. Quite the opposite. It’s a morality play, in which a woman is tempted by a finer life with an old flame, gives in, leaves her new little babe in the care of her carpenter husband, regrets it too late, and drowns for her sins. It’s about the perils of choosing style over substance; it’s about the consequences of valuing speed and beauty over community and commitment. Like our Habitat for Humanity project, it’s not about house carpenters: it’s about the girls who showed up to be house carpenters, and the church making lunch; a reminder of the value of all who help make a house, a home, a community.

That authenticity is hard to come by in the world today is an oft-repeated trope in folk music; it is the universality of the sentiment, as much as the plaintive beauty of House Carpenter’s simple tune, which explains why the song continues to find voice in each new generation of folksinger. In some ways, it’s frustrating to find that the message is still needed, hundreds of years after it was first found necessary. But the house goes up, nonetheless. Looks like it’s going to be a cosy place, too.

Work on our local Habitat house seems to have been put on pause for the winter. The girls who came that day to help have gone back to their lives with a new entry for their graduate school applications and, hopefully, a true sense of having participated in something selfless and pride-worthy. May their lots and ours be better than the lot of our alternate-verse narrator, who sinks and goes to hell for one bad decision. If their work on the house is any indication, they’re already headed for a better life.

Unlike Rain and Snow, the emotion of this oft-covered song is set in the lyrics; as such, most interpretations aim for a melancholic delivery. But as today’s featured artists demonstrate, there’s a wide potential for instrumentation and tone, even within a limited emotional range.

The fast-paced storyteller’s banjo on Pete Seeger and Clarence Ashley’s ancient versions creates a tension which serves the piece equally, if differently, from the languid brushstrokes, etherial harmonies and skeletal bass of The Tami Show’s haunted cover, the sweet, rich mysticism of Mick McAuley’s celtic ballad, or the fuller instrumentation and nuanced tonal ebb and flow of Tim O’Brien’s moody, celtic-flavored bluegrass.

The sparse, cracked doublevoiced tones of Roger McGuinn are a world away from the mournful, driving blues Natalie Merchant brings to the piece. And interpretations by folkfave youngsters The Mammals and Nickel Creek provide a study in contrast, two new-folkgrass bands taking the song through vastly distinct but equally powerful paces.

Try ‘em all. Find your favorite. It is, after all, the personal connection that makes us folk.

As always, all album and label links above take you direct to the source for your musical purchase. Buy local, support community: it’s that simple.

874 comments » | Mick McAuley, Natalie Merchant, Nickel Creek, Pete Seeger, Roger McGuinn, Single Song Sunday, The Mammals, The Tami Show, Tim O'Brien

Billy Bragg Covers: The Beatles, The Smiths, Seeger, Guthrie, etc.

January 4th, 2008 — 07:40 pm


The coversongs of Brit-folker Billy Bragg have been hovering on the edge of my consciousness for decades. His lovely, raw cover of She’s Leaving Home was the earworm on 1988’s alternative UK-band coveralbum Sgt. Pepper Knew My Father. His folk-pop work interpreting the lost works of Woody Guthrie in the late nineties reminded me of the genius of both Bragg and genre-defining alt-country musician Jeff Tweedy even as the albums brought the musicians themselves from fringe fandom to full-blown mass market appeal.

Then today, as I crested the mountain in the frigid New England winter air, our local early-morning folkshow played Bragg’s now-seminal, pained 2002 version of Smokey Robinson and the Miracles’ Tracks of My Tears. And I knew it was time to pay tribute to the collected covers of a man who’s made the journey from punk to folk, and come out smiling, without losing his radical political heart.

Ladies and gentlemen, Billy Bragg: folksinger, cover artist, and man of the people.


Billy Bragg’s bio describes his early work as that of a one-man Clash, an electrified punker with singer-songwriter style. More generally, he is often categorized as anti-folk, though his early work is punk folk, an umbrella that includes such smashingly loud, mosh-pit bands as Flogging Molly and The Pogues. His politically charged lyrics and angry street-broken voice are known for how they speak to the plight of the working class, while making explicit reference to a political arena which is both resonant with and alien to the American ear.

Perhaps because of this tendency to ground himself in the styles and politics of the United Kingdom, for most of his career, Bragg’s work didn’t show much on this side of the Atlantic. I first heard that Beatles cover, for example, on imported vinyl brought into our home by my younger brother, who was primarily in it for the much weirder stuff.

But while it’s true that Bragg still shares an anarchist’s sensibility with his fellow folk punk luminaries, in his later years, like fellow countryman Elvis Costello, Bragg has mellowed out musically, joining forces with Wilco to pay tribute to one of the seminal authors of the great American songbook, and turning his voice, already torn from the anger of his early punkfolk days, to an almost Americana sensibility.

The combination of new sound and old credibility, of socially aware soul and mellow mature interpreter, fits perfectly into the modern post-folk world of Grammy recognition and blog cred. It says what it needs to that when no less an authority than Woody Guthrie’s daughter Nora was looking for someone to write music for two albums worth of unset Woody Guthrie lyrics, she considered Bragg enough of an inheritor of the Guthrie voice-of-the-people, politically and musically, to ask him to do it.

This is Bragg’s quieter work, to be sure, though I’ve planted some of Bragg’s harder stuff in the bonus section below. The lush fiddle and plainsong treatment of Pete Seeger is more churchmusic than mosh pit; his version of When the Roses Bloom Again falls towards the country ballad side of alt-country. But listen for the yearning, the core of that politicized soul, and you just can’t miss it. Today’s set even begins with that Beatles cover, a harbinger of the softer artist to come: beautiful, broken-voiced, and unequivocally Bragg.

Most of Billy Bragg’s work has been rereleased since his turn-of-the-century Grammy nominations; his back catalog is an incredible journey, if you’re up for the boxset collections and compilations. But no matter whether you choose his old work or his new, buy Billy Bragg’s work direct from the source, not the megastores. It just wouldn’t be cricket, otherwise.

Today’s bonus coversongs:

  • Kirsty MacColl covers Bragg’s folkpunk anthem A New England popstyle
  • Jonah Matranga and Frank Turner’s indiefolk approach to A New England.
  • Billy Bragg in full-on folk punk mode…
    • Covers psych-folkers Love’s Seven and Seven Is in style
    • Does an electrified version of The Smiths’ Jeane, live from The Peel Sessions

Previously on Cover Lay Down:
Billy Bragg and Wilco, My Flying Saucer (orig. Guthrie)

185 comments » | Billy Bragg, Kristy MacColl, Pete Seeger, The Smiths, Wilco, Woody Guthrie