Category: Allison Crowe


America, The Beautiful: Coverfolk for a Thoughtful Fourth

July 3rd, 2008 — 11:51 pm

I’m not exactly the patriotic type. I’ve been to more countries than states; I prefer solitude to mall culture. Heck, we don’t even have basic cable. But all power-hungry, commercial/corporate complex, bittersweet modernity aside, I believe in the ideals which frame the constant American dialogue with itself — including first and foremost the requirement that we keep talking, lest we abdicate our role as government of the people, by the people, and for the people.

And I believe that, by definition, as music which speaks of and for a people, American folk music holds a particular place in that conversation which is America. Folk focuses that conversation, making it real and vivid, whether it is through the lens of policy critique or protest cry, the immigrant experience or the internal monologue of a singer-songwriter struggling to be free.

Checks and balances and a mechanism for self-correction; fireworks and barbecue, and the right to make dumb mistakes and have to live with ‘em. Losing love, and falling in it again. Finding hope, and being scared to dream one more time. It’s the American way, all of it — and it’s been that way since inception.

Which is to say: if I may sometimes work to change the policies of those in power, through sharing song or through town meeting politics, it is because I love this country. And I hope I never lose that fluttery feeling in my stomach when we come in for a landing at the international terminal, and I know that I am home.

So let other bloggers share patriotic song today. I’d rather take the country as it is: dialogic, complex, open about its faults and favors, and always looking for a better way. And if saying so means posting songs we have posted here before, then so be it — for these are, after all, timeless songs, with messages that bear repeating.

Happy Birthday, America. Long may your contradictions endear us to you. May you never lose hope. And may we never stop singing.

992 comments » | Allison Crowe, Danny Michel, Eva Cassidy, Holiday Coverfolk, Melora Creager, richard shindell, Tony Furtado

Covered in Folk: Cyndi Lauper (Greg Laswell, Kasey Chambers, Eva Cassidy, Willie Nelson, etc.)

May 14th, 2008 — 10:08 am


As an unabashed child of the 80s, I grew up with a particular image of Cyndi Lauper in my head, and it wasn’t pretty: hanks of bright-colored hair, that highpitched little-girl voice, the theme song to Goonies, that weird staged event with beer-bellied wrestler Lou Albano that years later comes across as even more creepy than it was back then.

But something was in the air, even then — something which didn’t gell with that synth-heavy dance-pop production and bouncy airhead persona. It turned out other songwriters really respected Cyndi Lauper. When, in the late nineties, Cyndi began to pull away from the charts and the public eye, she remained in the industry, taking stage roles, working behind the scenes as a vocal coach. You’d still see her every once in a while, passing through the red carpet crowd at the usual run of awards shows, and the people who stepped aside for her were people whose opinion we respected.

Some of the reasons people loved Cyndi had to do with who she was as a person — a scrappy kid who had to kick-start her career several times to get heard, only to garner a record-breaking number of singles from mid-eighties release She’s So Unusual. Some had to do with sheer admiration of talent — love it or hate it, but that unique voice has a four octave range and a flexibility that many other megastars would die for. But though Cyndi continued to tour, outside the industry, with the exception of a few VH1 appearances, and a brief flash of misty-eyed memory when a few select somebodies like Phil Collins hit the charts with a cover, most of us forgot about Cyndi.

Then, in 2005, Cyndi partnered with several contemporary artists from Shaggy to Sarah McLachlan to release The Body Acoustic, a series of gorgeous, slow interpretations of her older songs that showed just what we had missed behind the synthesizer pop. The album charted on the Billboard Adult Contemporary Charts, where her earliest fans, their ears mellowed with age, were ready to welcome her back. And, simultaneously, a generation that had grown up like I did, eyes glued to the early stages of MTV, began mining their own past, finding surprising sentiment in the songs of their hairspray childhood.

It turns out when you strip those songs down, and recast them as folk, they speak to the heart. And though some of today’s coversongs wobble on the edge of oversentiment, it takes but a short survey – let’s say, a few choice covers of just three of Cyndi Lauper’s most famous songs — to recast Cyndi once and for all as a songwriter and song interpreter who may not have been in full control of her image, but sure as folk had the chops.

So here’s those mid-career covers from Willie Nelson and long-gone bluesfolk songstress Eva Cassidy, plus some choice contemporary covers of Cyndi Lauper’s work from a wide variety of folk artists. From the rich, majestic pianofolk of Greg Laswell to the more atmospheric indie guitar style of Norman Palm, from Benjamin Costello‘s delicate pianopop to Allison Crowe‘s heartfelt guitarfolk to the rough live stylings of indie band Wakey! Wakey!, from Kasey Chambers‘ stunning acoustic folkpop to the mystical jangly jazz stylings of Cassandra Wilson, they go a long way towards explaining why Cyndi Lauper merits her success, and her praise.

Remember, kids: instead of supporting faceless megacorporations which ask artists to take the least share of their due for the greatest part of the work, all artist and album links here on Cover Lay Down go direct to label homepages and artist preferred source for purchase – the most effective way to help keep music in the hands of musicians. If you like what you hear, head over to the sites and purchase an album or three. I especially recommend Greg Laswell’s new EP How The Day Sounds, the collected posthumous works of Eva Cassidy, and anything by Kasey Chambers. And cover lovers will be especially tickled by the loads of free downloads available from Wakey! Wakey!, Allison Crowe, and Benjamin Costello.

Cover Lay Down publishes regularly on Wednesdays, Sundays, and the occasional Friday. Coming up: a return to our exploration of folk subgenres, and a feature on a favorite young singer-songwriter and cover artist in recognition of her newest collaborative album.

249 comments » | Allison Crowe, Benjamin Costello, Cassandra Wilson, Covered in Folk, Cyndi Lauper, Eva Cassidy, Greg Laswell, Kasey Chambers, Norman Palm, Wakey Wakey, Willie Nelson

Mothers of the Folkworld: Suzanne Vega, Ani DiFranco, Lori McKenna, Kris Delmhorst

May 10th, 2008 — 09:16 pm

Katrina, Narissa, and Amelia Nields, Clearwater Folk Festival, 2005

As a volunteer for performer check-in at Falcon Ridge Folk Festival for several years, I had the rare privilege of meeting the children of several notable folk musicians, from Lucy Kaplansky’s adopted daughter to Katrina Nields’ newborn. Seeing my favorite musicians up close and personal was always a treat. But seeing folk musicians in parenting mode always felt like peering behind the curtain of the public persona to something real. And once you see that part of a musician, it flavors the way you hear their songs from that day forward.

The confessional, personal nature of folk music lends itself well to songs of family and parenthood; as I’ve written about previously, I have a special fondness for music which speaks to that side of life. But it’s got to be especially difficult to be a mother who makes her living out of music. Working mothers have it hard no matter what, but musicianship isn’t like other careers: the late-night shows, the marathon recording sessions, the constant need for one more focused, childless hour crafting song, all stand in tension with the closeness and availability good parenting demands of us.

Yet the folkworld is full of female musicians who — with or without the help of sensitive, often stay-at-home dads — work their touring schedules around the various and sundry blessings of childrearing, from nursing and naps to school plays and graduations. Previously featured folkmothers include Caroline Herring, Lucy Kaplansky, Rani Arbo, Shawn Colvin, and Cindy Kallet: some of my favorites, and a significant percentage of the women who we’ve featured here on Cover Lay Down.

I can’t imagine what it must be like to sing a song to your child in front of ten thousand people, or, like Dar Williams did at Falcon Ridge last year, to bring them up on stage, so they can see what you see. And I can’t imagine what it must be like to give birth, or to head out on tour for a week without your child.

But I trust that the blogworld is surely swimming with songs about mothers this weekend. And in the midst of all that, I thought it was important to remind us all that the reason we’re here, on Mother’s Day and every day, is because a few daring, real people — people with families, with hopes and fears, with love enough to share — have chosen to make their living making the music that fills our world. And, notably, this is a career path where neither family health insurance nor maternity leave policies are the norm.

Today, as a tribute to working moms everywhere, we bring you some coversongs of and from a few more singer-songwriters with children of their own. As always, if you like what you hear, please support these artists and their families by purchasing their albums, heading out to their shows, and treating them as real people whenever possible.

Lori McKenna was already a mother of three when she stepped in front of her first open mic audience at the age of 27; since then, she has spent most of her career playing part-time in the local New England folk circuit, staying close to home while slowly making a name for herself with a growing set of well-crafted songs that celebrate the simple pleasures of life as a struggling middle class homemaker.

Though McKenna recently turned country, resetting her down-to-earth lyrics to a newly countrified sound and touring as an opening act for Faith Hill and Tim McGraw, her long tenure in the folkworld and her constant celebration of a vividly real motherhood earns her the lead-off spot on today’s list. We featured McKenna sideman Mark Erelli’s cover of McKenna’s Lonestar earlier this week; here’s a gritty lo-fi take on Radiohead’s Fake Plastic Trees from The Kitchen Tapes, and a much more polished but no less authentic look back at Peter Gabriel’s In Your Eyes from out of print American Laundromat compilation High School Reunion.

For a while there, Suzanne Vega was on the fast track to become the most prolific and popular folk musician to come out of the second-wave Greenwich Village folk scene in the early eighties; she is probably best known for Luka, her late 80s hit about a neighbor’s abused child. But if you haven’t heard much from her in a decade or so, it’s because she decided to curtail her touring and recording significantly in 1994 in order to focus on her family after her daughter Ruby was born. Since then, she has produced only three albums of new material; the songs have gotten even more introspective, but her quality hasn’t suffered one bit.

Here’s Vega’s take on two delicate songs about children from Grateful Dead tribute album Deadicated, plus some great duet work with John Cale on an old Leonard Cohen standard.

Urban folk feminist Ani DiFranco is a relatively new mother and ferocious touring machine who has taken a non-traditional path to motherhood even for the musicworld; instead of taking a hiatus to focus on recording and parenting, as so many other musicians have done, Ani brings her daughter with her as she tours. The model seems to be working — Ani and family just made the cover of the most recent issue of Mothering magazine — but other than this concert video of new song Present/Infant from her new DVD Live at Babeville, Ani has not yet recorded any of the new songs about motherhood which she has performed at her recent shows. So here’s a few random covers of Ani DiFranco songs, including a great version of Joyful Girl, a song DiFranco wrote to honor her own mother, performed by jam band Soulive with Dave Matthews.

A swollen belly and a June due date make Massachusetts-based singer-songwriter and folk producer Kris Delmhorst an impending member of the folk musician mother club, but motherhood is already starting to affect her career; she was showing when I saw her at the Iron Horse a few months ago, and these days, she’s rushing through a few dates in support of her new and absolutely stunning album Shotgun Singer before she goes on family leave. We’ve played cuts from Delmhorst here before, in recognition of her work with Peter Mulvey and father-to-be Jeffrey Foucault as part of folk trio Redbird; today, it’s Kris’ turn to glow with this fine, twangy interpretation of an old spiritual tune, and a sweet collaborative turn on Tom Waits’ Hold On.

Thanks to folkmusic.about.com for their feature on Folk Music Moms, which served as today’s writing prompt. For more about volunteering at Falcon Ridge this July, check out the festival website. Oh, and if you’re reading this, Happy Mother’s Day, Mom.

1,009 comments » | Alana Davis, Allison Crowe, ani difranco, Dave Matthews, Grateful Dead, Kris Delmhorst, Leonard Cohen, Lori McKenna, Peter Gabriel, Radiohead, Soulive, Suzanne Vega, Tom Waits

Covered In Folk: The Beatles, Part 2 (Signature Songs and Solo Projects)

December 10th, 2007 — 02:39 am

John Lennon died 27 years ago, on December 8th, 1980; I was seven, and the event was meaningless. But since then, like every one of you, I’ve absorbed the Beatles canon — which means, among other things, recognizing the loss of musical potential and statesmanship that marks Lennon’s passing.

Mostly, it’s the statesmanship I recognize. Though each Beatle — both the still-going and the dearly departed — went on to a fruitful solo career after the band broke up, for me, the Beatles as a cultural phenomenon are as much more a sum of their parts as they are musically. I mean, I know the music blogosphere is full of powerful Lennon tributes tonight, but by definition music blogs promote that which you haven’t really heard yet. Ask the average non-audiophile to sing a Beatles song, and the odds are they know dozens; ask them to sing a post-Beatles song, and they might be able to mangle their way through the first verse and chorus of a radio hit or or two.

Of course we know Beatles songs; it’s not like we have much choice. Over three centuries past their break-up, it remains a cultural rite of passage to grow familiar with the works of the Beatles. But their solo work has credibility on a smaller scale. As a member of the first post-Beatles generation, I never really took to the work of Paul or Ringo, with or without bands and mates, and my sense of the genius of Harrison and Lennon was mostly a peripheral awareness that there was more there than I was seeing from a distance, that some day I might like to listen to their work a little more closely.

In many cases, it was covers that brought me to to appreciate the continued later-in-life talents of the Beatles boys for what they were: individual talents, still powerful without each other. Great songwriters live forever, in the coverworld. That there are so many wonderful folk covers of the songs of the Beatles boys, both pre- and post-breakup, says what it needs to about their individual talents.

Today, in memory and in honor, over twenty coversongs from the fringes of the folkworld, our largest post ever here at Cover Lay Down. Including stellar folkversions of songs from the solo careers of Paul, George, and John, and some signature Beatles songs generally acknowledged as primarily a product of a single Beatlesboy. Plus a second set of select covers sung by a few of the boys themselves, as a little bonus.

The Songs of John Lennon

  • Alison Crowe, Imagine (orig. Lennon)
  • Keb’ Mo’, Imagine (orig. Lennon)
  • Rosie Thomas, Love (orig. Lennon)
  • Damien Rice, Happy Christmas (War is Over) (orig. Lennon)
  • Harry Nilsson, You Can’t Do That (Lennon; orig Beatles)
  • The Subways, You’ve Got To Hide Your Love Away (Lennon; orig. Beatles)

    The Songs of George Harrison

  • Girlyman, My Sweet Lord (orig. Harrison)
  • Tanya Donelly, Long, Long, Long (Harrison; orig. Beatles)
  • The Bacon Brothers, If I Needed Someone (Harrison, orig. Beatles)
  • Jake Shimabukuro, While My Guitar Gently Weeps (Harrison; orig. Beatles)
  • Nils Okland, While My Guitar Gently Weeps (Harrison, orig. Beatles)

    The Songs of Paul McCartney

  • Ron Sexsmith, Listen To What The Man Said (orig. Wings)
  • Jem, Maybe I’m Amazed (orig. McCartney)
  • Dust Poets, Veronica (orig. Costello/ McCartney)
  • Mark Erelli, I’ll Follow The Sun (McCartney, orig. beatles)

    The Songs of Ringo Starr

  • George Harrison, It Don’t Come Easy (orig. Starr, poss. w/ Harrison)
  • Sufjan Stevens, What Goes On (Lennon/McCartney/Starr, orig. Beatles)

    I’ve thought long and hard about how to direct you to purchase and support today’s coverartists, but ultimately, I decided that today is about George, Ringo, Paul, and most especially John. If, after you hear these incredible covers, you want more information about the recent and universally awesome albums of the artists covering these songs, ask me about them in the comments, or head on over to good old google, type in an artist’s full names in quotation marks, and hit “I feel lucky” to buy direct from any artist’s website.

    Today’s Bonus coversongs: The Beatles Boys Cover…

  • George Harrison, Between The Devil and the Deep Blue Sea (orig. Arlen/Koehler)
  • Ringo Starr and Stevie Nicks, Lay Down Your Arms (orig. Harry Nilsson)
  • Harry Nilsson w/ John Lennon, Many Rivers to Cross (orig. Jimmy Cliff)

  • previously: Covered In Folk: The Beatles, Part 1.
  • 517 comments » | Allison Crowe, Covered in Folk, Damien Rice, Dust Poets, Elvis Costello, George Harrison, Girlyman, Harry Nilsson, Jem, John Lennon, Paul McCartney, Ron Sexsmith, Tanya Donelly, The Beatles

    Single Song Sunday: Joni Mitchell’s River (Holiday Coverfolk, Part 1)

    November 25th, 2007 — 11:40 am

    Though each year brings a few wonderful additions to the caroling songbook, eventually, every truly great holiday song gets covered and recovered in a multitude of genres and styles. Which is to say: there’s plenty of folk covermusic for the holidays. As we slide towards December, stay tuned for a cornucopia of features on Christmas albums, folk musicians, and folksinger favorites, from the Roches We Three Kings to the very best label-driven holiday compilations.

    Today we begin our foray into the holiday coverfolk spirit with a focus on perhaps the first truly modern folk song to be brought into the cycle of once-a-year covers that is the Christmas Canon: Joni Mitchell’s River.

    For a Christmas standard, Joni Mitchell’s River is extraordinarily complex. The subtle piano instrumentation and tongue-in-cheek intro lend itself to holiday ballad; even in the original, the way the sharp chords of Jingle Bells segue into a flowing, languid piano and Joni’s soaring vocals calls up images of drinks by the fireside, snow falling outside frosted glass. But below the surface, this song reveals its songwriter’s mental state. And Joni’s not feeling very Christmassy.

    Like the rest of Joni’s 1971 album Blue, River bears the bitter mark of Joni post-relationship, struggling to put words to a feeling of defenseless fragility. The lyrics are explicit: though it helps to know that Joni was in sunny California at the time she wrote this song, far from the Christmas cold of her native Canada, the litany of faults and life failures which causes Joni to long for a river to “skate away on” certainly transcends mere geographical dissatisfaction.

    Has River become a Christmas standard in denial of its wistful, cynical core? Or is Christmas, in our modern, overcommercialized world world, becoming something from which we long to escape? It’s hard to say. Certainly the song has been disproportionately covered in the last decade: according to one authority, there are over 130 recorded versions floating out there in the ether. But most are saccharine sweet holiday pap, and many change neither instrumentation or voice much beyond adding a few layers of this era’s production. Only a tiny few truly reinterpret this simple hymn of longing and regret.

    But those few are treasures. For despite how easily it slides into the repertoire of the pop balladeer, and regardless of what it says about our changing feelings toward Christmas, River is eminently a song worth saving.

    Today — in a reluctant nod to the fact that half of our local radio stations have already switched over to holiday music — we offer a short list of the best and folkiest.

    Each manages to make the familiar meaningful again — whether it is Peter Mulvey‘s low, broken voice bringing out the true core of Joni’s longing and sadness, or just James Taylor being James Taylor, bright and full of hope even in acknowledgement of the deepest depression.

    Each truly brings new light to an aging standard. Most notably, Angus Stone‘s re-rhythming of the song into a light, bouncy, fully orchestrated work of strings and guitar casts the work as a product of the modern mellow indie-folk movement without losing a drop of poignancy. Allison Crowe‘s solo piano version and Rachael Yamagata‘s piano-with-bass cover may not sound so different from the original at first, but listen again and the subtleties stand out: Yamagata’s slurred, cracked breathiness lends tears to the sadness, while Crowe’s majestic tonal read turns the song on its ear.

    And each is eminently listenable. Listen to the way the waterfall tinkle of the harpsichord compliments the string-and-piano (and jingle bell) poppiness of Aimee Mann‘s version. And, sure, Sarah McLachlan is hardly folk, but this fellow Canadian still manages to bring the fireside feel of winter to her electrified popversion.

    Enjoy today’s covers, the first of many gifts from us to you as we celebrate the holiday season here at Cover Lay Down. And remember: without the bittersweet world for context, we could not so love our songs of comfort, joy, and peace.

    We’ll host a full Joni Mitchell edition of Covered in Folk sometime in 2008, but if you just can’t wait for your coverfix, buy Blue, and start catching up on one of the truly seminal artists of American folk music.

    Or head over to Coverville to download The Joni Mitchell Cover Story II, which ends with the incredible title cut from Herbie Hancock’s River: The Joni Letters.

    Or visit The Late Greats for an incredible 30-song post of songs with the word river in them, including both Joni’s original and an amazing version from Madeleine Peyroux and kd lang.

    Or, whet your appetite with today’s bonus coversongs:

    Come back Monday for a very special feature on folk covers of Disney’s Winnie The Pooh, guest hosted by Kurtis of Disney coverblog Covering the Mouse! Meanwhile, I’ll be over at eclectic coverblog Fong Songs analysing covers and original of The Smiths’ Girlfriend In A Coma, while Fong closes the loop with a sweet write-up of yet another Winnie the Pooh cover over at Covering the Mouse. It’s coverblog musical chairs!

    632 comments » | Aimee Mann, Allison Crowe, Angus Stone, Holiday Coverfolk, James Taylor, Joni Mitchell, Peter Mulvey, Rachael Yamagata, River, Sarah McLachlan, Single Song Sunday

    Covered In Folk: The Beatles, Part 1 "More popular than Jesus"

    October 26th, 2007 — 10:34 am

    Is there really anything left to say about the Beatles? Given the covercontext, perhaps only this:

    The Beatles canon is etched indelibly on the popular psyche. On one level, these are all folk songs, if only by their memetic virtue. Sooner or later they are played on every busker’s corner. And every one of us smiles and sings, faintly, under our breath as they pass by.

    And one reason the songbook sticks so well in the brainpan is how simple, how elegant, how open the pages are to interpretation. Chords, lyric, tone and timbre, their mutability in the hands of even a single genre is astounding.

    I have almost as many folk covers of Beatles songs as I do covers of Dylan songs. Most are excellent. Today, I’ll be using our first of what promises to be a very fruitful Covered In Folk series on the Fab Four to introduce a few deserving folksingers and coversources we just plain hadn’t heard from yet. For some reason, today’s songs all begin with the letter I.

    • Sam Phillips, I Wanna Be Your Man
    • Alison Krauss, I Will
    • The Paperboys, I’ve Just Seen A Face
    • Allison Crowe, In My Life
    • Nellie McKay, If I Needed Someone

    That last cut, at least, is from This Bird Has Flown: A 40th Anniversary Tribute to the Beatles’ Rubber Soul. You need this record; happily, the folks who made it want to sell it to you.

    The Sam Phillips cover is from a recent all-covers soundtrack to Crossing Jordan; the soundtrack is so amazing, it almost makes me wish we had television in my house. You’ll be hearing more of this disk here over the next few years, but get it now, because CD Universe has it for under 8 bucks!

    Now That I’ve Found You, a collection of Alison Krauss covers and B-sides, is available direct from the Rounder Records label; it’s a great CD to start with if you don’t own any of her work.

    Songwriter and mistress of coversongs Allison Crowe beat out Johnny Cash, Ben Lee, Chantal Kreviazuk and Shawn Colvin covers of In My Life at the last minute. Buy or download all Crowe’s albums via Rubenesque – her own label – and you’ll know why this Canadian youngster is one to watch for the next half-century.

    The Paperboys bring in da Canadian Celtic folk-rock via CD Baby so you can bring it on home. They do a great All Along The Watchtower, too.

    Today’s bonus coversong beginning with I:

    • Keb’ Mo’ covers Lennon’s Imagine

    963 comments » | Alison Krauss, Allison Crowe, Covered in Folk, Keb' Mo', Nellie McKay, Sam Phillips, The Beatles, The Paperboys