Basic Folk: Chris Smither & Peter Mulvey

Chris Smither has been Peter Mulvey’s mentor since back in 1993, when a young Mulvey opened for the already seasoned Smither. The blues and folk legend liked what he heard and enjoyed their similarities in creativity and quirks; he took that young man on the road with him. Their musical partnership has survived the digital age, the pandemic, parenthood, and the indictment of a former president. Along the way each has worked to influence their best habits and life lessons on the other. As far as mentor-mentee relationships go, this one is for the history books.

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In this rare joint interview on Basic Folk, we address the important questions: Why do they delight in calling each other by their last names? Smither shares that he was first called by his last name in Paris when he was in school. The two debate who has the better hometown, Milwaukee or New Orleans. Actually, it’s not so much a debate as a reflection on New Orleans music, since that is clearly the better spot to grow up as a musician.

Mulvey reflects on their musical differences, citing some of his main inspirations to be Kendrick Lamar and Ani DiFranco, versus Smither’s affinity for Joni Mitchell and Bob Dylan. There are nods to David “Goody” Goodrich, Jeffrey Foucault, Kris Delmhorst and the woman behind it all, Carol Young (AKA Smither’s long-time manager, AKA his wife). We break down how each feels about fatherhood and try to get Smither to spill his secret to longevity. Spoiler alert: It’s not from remaining still.

Smither’s 20th album, All About the Bones, is out now. Peter Mulvey’s latest is the acoustic retrospective, More Notes From Elsewhere.


Photo Credit: Chris Smither by Jo Chattman; Peter Mulvey by Paul Reitano.

MIXTAPE: Books, Story, & Poetry by Ordinary Elephant

As humans, we have a history of turning to story for comfort, direction, and preservation – a way to keep the present alive in the future. Story can be found in books, poetry, song, and our minds and mouths.

This playlist starts with our song, “Once Upon a Time,” which was born of our turning to story in the deep uncertainty of early 2020, and is the opening track of our recently released, eponymous album. In this Mixtape, we feature songs that incorporate or allude to books, authors, poetry, or story, written by artists that inspire us to write our truest stories. – Ordinary Elephant

“Once Upon a Time” – Ordinary Elephant

When the world shut down in March of 2020, we found ourselves one show into a two-week Australian tour. After scrambling to get home, the quiet hit and the processing of a new world began from our Louisiana porch, deeply feeling the human instinct to turn to a sense of story when faced with intense uncertainty.

“Always a Little Less Time” – Justin Farren

“So I guess that’s always been the story of you and I.” Justin paints pictures with the specifics that draw you in and let you see yourself in his songs, then cuts straight to the truth. The impermanence and the importance of our time here. This song guts us, in the best way, every time.

“Nothing at All” – Clay Parker & Jodi James

“I’ve got books stacked on the bedside table, that are gonna make me well and able, but the light in my room is still burned out,” Jodi sings, as one of our favorite duos spins an ethereal tune of rejection and resolve.

“Walking Each Other Home” – Mary Gauthier

One of our favorite songs of Mary’s. Achingly beautiful, it details the uncertainty of a relationship ending, but also speaks to the broader idea of the unknown. “I don’t know how this story’s supposed to go,” she sings in the chorus, as it’s hard to know when we’re living it. But there is clarity and acceptance that “we’re all just walking each other home,” helping each other find our own stories.

“Under My Fingers” – Wes Collins

Wes is one of those writers who takes you places you didn’t know you needed to go. Both with his words and with his music. This song follows a writer’s thoughts, even alluding to the scarcity mindset that can sometimes take hold of creatives. The fear that it won’t last and the solution of surrendering to the pen.

“Paperback Writer” – The Beatles

The Beatles were Pete’s first musical love, showing up in his life around sixth grade and giving a wealth of melodies and harmonies to soak in. He studied guitar through their songs, which span so many genres, it was easy to get lost in their catalog for years.

“Windmills” – Mutual Admiration Society

The story of Don Quixote twisted into a song by one of Pete’s favorite songwriters, Glen Phillips. This song first appeared on Toad the Wet Sprocket’s 1994 album, Dulcinea. This version is from an incredibly underrated collaboration between Glen and Nickel Creek. Both of these artists changed Pete’s musical world, Glen being one of the first songwriters that he really dug into and in this collaboration, Nickel Creek introducing him to the world of acoustic music.

“Hemingway’s Whiskey” – Guy Clark

Guy Clark’s use of simple language to tell deep truths is unparalleled in the modern songbook. Here he salutes his admiration for another legendary writer, toasting with a drink, and reveling in the difficult work it takes to be a writer of that stature. Guy’s songs are revelations.

“I Ain’t Playing Pretty Polly Anymore” – Dirk Powell

We have the choice to perpetuate stories or let them die off. Some traditions continue to enrich our lives, but it’s important to realize when we’ve moved past them and when it’s time to draw the line between cautionary tale and normalizing certain types of violence. As someone steeped in tradition, Dirk makes an important statement about what songs are able validate, and that we can choose not to continue singing certain ones.

“The Other Morning Over Coffee” – Peter Mulvey

In remembering a conversation with a friend, Peter recalls talking about having lived lives “so full of poetry and adventure that if we died right then and there it would have been fine.” It’s a goal we can hope that some part of us is always aiming for. As the song unfolds, it becomes a perfect reminder that we’re all moving through the same world, the same bigger story, despite the difference in our details.

“Velvet Curtain” – Anna Tivel

Anna’s songs are movies, thick with imagery and emotion. She’s one of those writers who you’re thankful is walking this earth at the same time as you. This song shows us that sometimes there are words that need to be heard, and sometimes you’re unknowingly the one singing them.

“Billy Burroughs” – Jeffrey Martin

Jeffrey’s work tends to knock your socks off, right out of the gate. His rich voice and insightful command of language immediately demands your full attention. His background of teaching literature melds with his own writing here.

“Tailor” – Anaïs Mitchell

“When he said that my face he’d soon forget, I became a poet.” One of our favorite songwriters, Anaïs has a way of weaving a story that hits you in the softest spots. Here she spins a gorgeous warning of how easy it is to let others define our story, and that we can learn to tell our own if we remember to listen to ourselves.

“The Prophet” – Ordinary Elephant

Crystal came across a copy of Khalil Gibran’s The Prophet, gifted to her by a dear friend 20-something years ago. The bones of this song were hiding between the dog-eared pages, a discovery of self-love through returning to reminders of a love gone.

“Everything Is Free” – Gillian Welch

“We’re gonna do it anyway.” In lyric, and in delivery, Gillian shows us the power of song and story to persevere. Her voice and style are singular, and are always a welcome reminder to find comfort in the unique and truest version of ourselves.


Photo Credit: Olivia Perillo

Basic Folk – Peter Mulvey

Milwaukee-born Peter Mulvey has, along with classical duo SistaStrings, made an anti-fascist record. According to Peter, “to make an anti–fascist record, you must keep kindness and compassion in the foreground.” Love is the Only Thing goes from family, to politics, to family, to racism and back to family. It’s as optimistic and introspective as it is filled with “running out of a burning building” type of songs. All the while, Peter is joined by powerful, thoughtful and extremely talented musicians in Monique and Chauntee Ross.

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Lots has happened in Peter’s life since his last album. He originated himself in New England, fell in love and got married, a pandemic, and he’s become a father. All these eek their way into the songs on the new album. Particularly poignant is his co-write with his partner, the song about their possible future as parents (good luck not crying to all the parents out there!) Don’t worry if you didn’t catch all the Buddhist references, we talk about each one in finite detail. Enjoy!


Photo Credit: Joe Navas

LISTEN: Peter Mulvey & SistaStrings, “Soft Animal”

Artist: Peter Mulvey & SistaStrings
Hometown: Milwaukee, Wisconsin
Song: “Soft Animal”
Album: Love Is the Only Thing
Release Date: August 12, 2022
Label: Righteous Babe Records

In Their Words: “The title and first line of ‘Soft Animal’ are lifted from Mary Oliver’s transcendent poem ‘The Wild Geese.’ The rest of this love song, which I wrote while falling in love with the woman who would become the prow of the little boat that is our family, navigating through all the stormy waters of recent years, hews closely to Mary Oliver’s sentiment, ‘You only need to let the soft animal of your body love what it loves.’ The whole song is full of shoulders, and eyes, lips, hands, ears, hips, as well as the fleeting things that arise from our bodies: footsteps, shadows, despair, laughter, anger, belief. This love song is the truest version of love I could manage, and I will (and did) stake my whole life on it.” — Peter Mulvey

Yellow Couch Management · 02. Soft Animal MSTRL2

Photo Credit: Amos Perrine

WATCH: The Accidentals, “Eastern Standard Time”

Artist: The Accidentals
Hometown: Nashville-by-way-of Michigan
Song: “Eastern Standard Time”
Album: Time Out Session #2
Release Date: March 4, 2022

In Their Words: “This song was written over Zoom with Peter Mulvey, one of my favorite songwriters. A Wisconsinite, Peter is known for riding his bike across the country with his guitar on his back, sharing stories and provocative wisdom in song form. We were introduced to Peter at a show in Michigan and after watching his set we knew someday we would write a song with him. We were really excited when an email came in, asking if we’d be interested in writing a song. We’ve learned in co-writing, the key is to find the things you have in common. We found about five minutes in, that we were both avid nature lovers, and we spent a while talking about everything from trees to birds to fungi. Eventually, we started talking about the UP [Upper Peninsula] — it’s where our home state connects to Peter’s home state.

“The UP is one of the most beautiful places on Earth and we plan a tour there every year when the leaves are changing. We decided to write a song about that. Peter landed the hook, ‘Eastern Standard Time.’ The line ‘Three fires burn from the old bloodlines’ pays homage to the Three Fires Council — the three Native American tribes that comprise much of the Midwest. The descriptions of northern beauty are underscored by thin cracks in the visage: the dangerous oil pipeline threatening our remaining freshwater resources and the long-lasting effects of colonization on Indigenous people. Every beautiful thing comes with baggage. You can’t talk about one without talking about the other. The video was a gift from our friend Elijah Allen. That is him holding/operating the drone while skating across the frozen lake. He’s an avid outdoorsman and really wants people to experience the beauty of where we live in Michigan.” — Sav Buist, The Accidentals


Photo Courtesy of Sideways Media

LISTEN: Peter Mulvey with SistaStrings, “What Else Was It”

Artist: Peter Mulvey with SistaStrings
Hometown: Milwaukee, Wisconsin
Song: “What Else Was It”
Album: Live at the Cafe Carpe
Release Date: Oct. 9, 2020
Label: Righteous Babe Records

In Their Words: “‘What Else Was It?’ was a gift, a trance, a song that came straight through me in a time of need. I’ve been alternating two different third verses for years now, and we finally got the other one on record. This might be the best we’ve ever played this song, so I guess we won. What else was it we were looking for, anyway?” — Peter Mulvey

Yellow Couch Management · What Else Was It?

Photo credit: Matt Dayak

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

LISTEN: Peter Mulvey, ‘The Last Song’

Artist: Peter Mulvey
Hometown: Milwaukee, WI
Song: “The Last Song”
Album: Are You Listening?
Release Date: March 24, 2017
Label: Righteous Babe

In Their Words: “We were circling the beast in Big Blue (Ani’s home studio) trying to find a way into this, when she suggested I play it on the guitar given to her by Michael Meldrum, an early mentor for her as an artist. Suddenly the song fell into place.” — Peter Mulvey


Photo credit: Elisabeth Witt