MIXTAPE: Peter Mulvey’s Favorite Folk

I’ve been making my living in the folk music world for 25 years and I still don’t know what those two words mean. Long ago, I realized had no more need to figure it all out. Here’s a playlist of tunes that fall easily into my whereabouts: from Tom Waits’s thunderous take on the touchstone “Shenandoah” to Anais Mitchell’s daringly inventive confessional “Now You Know” to Birds of Chicago and their straight-from-the-ages “Barley.” — Peter Mulvey

Tom Waits — “Shenandoah”

This. This is folk music. Nobody wrote “Shenandoah.” It was coughed up out of the doings and workings of a people. Rivermen, turning wheels and winding ropes. In its complexity and simplicity, it is as deep as anything a PhD in composition could aspire to (Five lines instead of four! Echoes of pentameter! The surreality of personifying Shenandoah as a person! The song is called “Shenandoah” and yet the river continually referenced is … the Missouri!) and yet this song is as clumpy and mossy as a stone in the shallows. Tom Waits and Keith Richards do it immense justice here.

Anaïs Mitchell — “Now You Know”

There is an ongoing tension in folk music between deep folk influence and personal expression. Anaïs Mitchell’s work in revitalizing old myths and old folk song forms, whether through rewriting Greek myths or un-ironic direct wrestling with child ballads, is unimpeachable. And it is the raw power earned by all that work which lends such immediacy to the naked outpouring of “Now You Know.”

Birds of Chicago — “Barley”

“Barley” could be as old as the hills, as old as Appalachian dirt or Irish turf, and yet it’s modern, with a modern, family dedication. Allison Russell, formerly of Po Girl and now a Bird of Chicago, has been a force in folk music north and south of the 49th parallel for years, and her writing deepens alongside that of bandmate JT Nero.

Suitcase Junket — “Wherever I Wake Up”

Matt Lorenz takes old junk and makes it sing. His one-man band of a dumpster guitar, suitcase drums, bones and buzz-saws surrounds him, and his clarion voice calls out from the center of this suddenly animated junkpile. He also does throat singing, which is as folky as it gets: an ancient human skill, used for thousands of years to communicate across the vast steppes. All that, and he can write a tune.

Anna Tivel — “Lillian & Martha”

Quiet details, laid out with patience and care, illuminate this trembling, vulnerable human story of two women finally able to marry. There are anthemic protest songs that help to sweep change through our history, but there are also the true human stories within that sweep, and Tivel’s singing of the unsung here is an act of quiet decency.

Kate Rusby — “The Fairest of All Yarrow”

Let’s return to pure folk music for a moment. Kate Rusby dedicates herself to the singing of songs, with heart and vividness, with deference but also daring. Sparks strike. Flames ensue.

Kris Delmhorst — “Since You Went Away”

Jim Harrison said that “poets are the weeds of the plant kingdom: not much in demand.” In terms of poems, Kris Delmhorst is a naturalist of the highest order. Her startling 2006 record, Strange Conversation, re-imagines Whitman, Millay, Byron, Rumi, and the poetry of many more as songs. This setting to music of James Weldon Johnson’s poem “Seems Lak to Me” takes sadness and makes it beautiful. That’s a quiet feat.

Kelly Joe Phelps — “House Carpenter”

Kelly Joe Phelps blew into the landscape like a mysterious thunderhead in the late ’90s, bringing an unmatched musicianship, a towering sense of improvisation, and a depth of hard-earned soul. His sound was all his own. This blazing version of the mythical “House Carpenter” story is a dizzying journey, crossing wide high seas in just the span of minutes.

Sam Gleaves — “Two Virginia Boys”

Sam Gleaves wears his musical identity authentically, unironically, and with true grace. This simple, plainspoken song of love between two men is an act of dignified, courtly bravery. By using the traditional “East Virginia Blues” as his chorus, he roots this song where he wants it to grow.

June Carter Cash — “Tiffany Anastasia Lowe”

As a descendant of the First Family of American Folksong, June Carter was (no doubt rightly) alarmed to learned that her granddaughter planned to go to Los Angeles to make movies with Quentin Tarantino. This marvelous song is her warning. Take heed, people.

Woody Guthrie — “This Land Is Your Land”

Writing about this song is a bit like writing about the Mississippi River, or Denali. I’m just going to put this on the list and let it speak for itself.

Kendrick Lamar — “Alright”

But speaking of protest songs, of songs that the people sing in their time of need, crowds in Cleveland, having been pepper-sprayed during demonstrations in 2015, spontaneously broke into the refrain of this anthem from Lamar’s masterpiece, To Pimp a Butterfly. Folk music is for folks. Listen, if you’d like to know what’s going on.


Photo credit: Elisabeth Witt

ALBUM STREAM: Anais Mitchell & Jefferson Hamer ‘Child Songs’

Last week we told you all about ANAIS MITCHELL & JEFFERSON HAMER’s beautifully complex project, CHILD SONGS, prior to their LA show (check out our interview with Jefferson here…).  But this week we give you the chance to hear it for yourself with a full stream of the album.  What do you think?  Do Anais and Jefferson’s new takes on these ancient folk songs ring true today?

You can still catch the duo’s intricate harmonies live while they continue their North American tour.  Don’t miss this show in a city near you.

NORTH AMERICAN TOUR DATES:

3/23 – Morso Wine Bar – Gig Harbor, WA
3/24 – Wildwood Hotel – Willamina, OR
3/26 – Freight & Salvage – Berkeley, CA
4/10 – Club Passim – Cambridge, MA (2 shows)
4/11 – Caffe Lena – Saratoga Springs, NY
4/12 – Hooker-Duhman Theater  – Brattleboro, VT (2 shows)
3/13 – The Parlor Room – Northampton, MA (2 shows)
4/14 – Narrows Center for the Arts – Fall River, MA
4/16 – Joe’s Pub – New York, NY
4/17 – Joe’s Pub – New York, NY
4/18 – Hamilton College – Clinton, NY
4/19 – Tin Angel – Philadelphia, PA
4/21 – Jammin Java – Vienna, VA
5/14 – Higher Ground – Burlington, VT
5/15 – Ninth Ward – Buffalo, NY
5/16 – The Ark – Ann Arbor, MI
5/17 – Redamte Coffee House – Madison, WI
5/18 – Old Town School of Folk – Chicago, IL
5/19 – The Pabst Theater – Milwaukee, WI
5/20 – Cafe Paradiso – Fairfield, IA
5/24 – L2 Arts and Culture Center – Denver, CO
5/25-5/26 – MeadowGrass Music Festival – Colorado Springs, CO
5/31 – Nelsonville Music Festival – Nelsonville, OH

CONVERSATIONS WITH… Jefferson Hamer

 

ANAIS MITCHELL and JEFFERSON HAMER are each hugely respected artists in their own right, but together they create a chemistry that is lush and alluring and mysterious all at once.

Their recent collaboration, the critically acclaimed CHILD BALLADS, is a re-imagining of the song collection of Francis James Child, a 19th century Harvard professor who gathered traditional versions of folk ballads from across the British Isles.

Prior to their upcoming west coast appearances, Jefferson explained the story behind the project, and his artistic connection with Anais…

Why Child Ballads?  It’s not what people think…. Who was this guy?

When Anais and I started singing together we discovered we both loved a lot of old traditional music… found ourselves singing a lot of country songs and English folk music.  We both have copies of the Francis James Childs collection.  He was a Harvard professor who decided to collect his history of folk music from England and Scotland, and published several volumes of his work in the late 19th century.  The music he researched and documented covered a lot of the traditional music in the last few centuries and even came over to America and continued to evolve.

We got really excited about working with the actual text.  We’re both writers and like to get our hands dirty with words as well as arranging music.  Our project was going through these different versions and putting together something we created, not just singing some derivative version from some field recordings.  It was much easier with the Child books because he gives you a lot of different versions from what he collected.

We fell in love with the themes and the of the Child Ballads.  They are very ancient – very old.

How did you get in to Celtic and British folk music?

I started playing electric guitar and writing weird songs as a teenager.  Then when I was in college I got in to bluegrass – I just loved the idea that you could go play music with people you weren’t in a band with, that there was this common repertoire, a music that could build community.  That was a real delight that led me in to folk music.

Around the same time a humanities professor gave me a stack of CDs with British Folk Music – Fairport Convention, Richard Thompson, etc… what made it exciting was that my friends weren’t listening to it.  I felt like I had discovered this sort of treasure trove.  I think it formed an idea of the type of music I wanted to create.

You and Anais collaborated on the critically acclaimed Hadestown.  How did you two meet?  What brings you back to working with her?

I first heard about Anais from a mutual friend of ours.  I was on tour with Laura Cortese and we had a gig in Santa Cruz opening for Anais Mitchell.  That night she and I started to talk about English Folk Music.  We made that initial connection — discovering we had tastes in common.

A while later she was playing in Brooklyn and she asked me to open.  After that, we become friends right away, which now makes all the difference when you’re spending long hours in the car together.  But musically speaking we always liked to sing together.  I’ve always really admired her writing and her material.  She reached out early on and wanted to work with me so it really happened naturally.  And this record happened naturally too, even though it took a long time.

The goal was to express our musicality through these old songs.  We could have made an overly produced record but all the framework on the songs was in place and that’s the two guitars and two voices.  Not decorate it too much and not let it get too far away from us.

This album took several years and more than one attempt to create.  What is your process of working together?  What happened to the other attempts?

I started with Anais as her guitar player and harmony singer.  We discovered this mutual love of old songs and decided to make a ballad record.  We’d go up to her house in Vermont take a week make a record, then quickly realized we weren’t ready.  So any time we’d be together, the two of us would just peruse through all five volumes, finding the songs we liked.

We’d search for the right verse then add our own.  Kind of like “bushwacking” as we dubbed it — venturing far off the well worn path that was in the books, Child’s books being “the source”.  That’s why it took us such a long time – some of these songs have thirty verses.  Until we piece together one song – that can take a month.  And then we would sing them so that we knew it felt natural.  Ultimately that’s how we made our decisions as to include and what to leave out – deciding what felt right.

After our first round of work, we went up to Vancouver to record with John Ram.  We had done a lot of work on the songs but didn’t know what kind of record we wanted to make.  That first round had drums, electric guitar, overdubs.  After some time up there we just knew we weren’t done yet — it didn’t work.

Not long after that a friend of ours recommended we go to Nashville and work with Gary Paczosa, and it was clear we had to make an acoustic record.  We were so fortunate to work with a guy like Gary.  He has such an amazing resume.  We’ve got to give a nod to him – the engineering has an immediate lushness ythat you can’t help but notice, and given how sparse the production is, that’s really something special.  Anais and I got down there and just sat across from each other and sang it live.  It took us a long time to get there and do the simplest thing.

See Anais and Jefferson live at McCabes Guitar Shop in Santa Monica this Friday, March 15.  You can learn more about Child Ballads here.