Category: Roger McGuinn


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

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